
Class _J 1 Gp t) t) 

Book . ^ 

Copyright}]^ 



CiiBiRIGtCr DEFOM& 



MODERN 
MILLINERY 

A WORKROOM TEXT BOOK 

containing complete instruction in the work of 
Preparing, Making and Copyi?ig Millinery, 
as actually practiced in the most ad- 
vanced trade workrooms. 

By HESTER B. LYON 

Supervising Instructor of Millinery, 
Pratt Institute 

Director of Home Economics, 

Plymouth Institute 

Etc., Etc. 



Published by 
THE MILLINERY TRADE PUBLISHING CO. 

1225 Broadway 
New York 






Copyright, 1922 
by The Milhnery Trade Publishing Co. 



Printed in the United 
States of America 



OEC 12 i922 
)C1A692722 



OTHER PUBLICATIONS OF THE 

MILLINERY TRADE PUBLISHING CO. are 

The Millinery Trade Review 

The fashion and merchandising 
authority of the industry. A month- 
ly magazine depicting the fashion 
trend in picture and story, as re- 
vealed in the showings of the 
French and American designers, and 
in the hats worn bv society and stage 
folk. 



&6.00 



a year 



Ttie Millinery Buyers^ Index 

A complete list of the wholesalers 
and manufacturers of trimmed hats 
and millinery supplies in the United 
States and Canada. 



&1.00 



per copy 



The Millinery Trade Publishing Go. 

1225 BROADWAY - - NEW YORK 



^■B. — The Service Department of The 
Millinery Trade Review is always at the 
disposal of subscribers. Inquiries re- 
garding workroom methods, sources of 
supply, trade customs, or any other prob- 
lem connected zvith the industry, receive 
the prompt attention of a well-informed 
staff of editors. 



Millinery in its highest sense always was and 
always will be a cojnbination of beautiful lines and 
color. Each year experienced workers try to express 
more skilfully their concept of LINE. In t^e past 
?nost of the real style was left to the trimmer, to 
add the dash of line in the trimmmp; BUT TO 
MAKE A HAT SUCCESSFULLY TODAY, 
WHETHER OF STJUW, VELVET, OR 
OTHER MATERIAL, THE WORKER 
MUST MAKE THE LINE STITCH BY 
STITCH, SHJFING AND MOULDING AS 
SHE GOES. This is the chief part technique plays 
in the Jiniliinery field today. 



CONTENTS 

PAGE 

CHAPTER I. 
The Scope of MODERN MILLINERY 11 

CHAPTER II. 
The Fundamentals of Frame Making 14 

CHAPTER III. 
Expression of Line 25 

CHAPTER IV. 

1 — Making a Facing Line. 2 — Making a Frame From 

Measurements 29 

CHAPTER V. 

Copying French Hats Without Measurements 38 

CHAPTER VI. 

Bracing Wire Frames, Choice of Blocking Material. . . 47 

CHAPTER VII. 

Blocking the Frame 52 

CHAPTER VIIL 

Calculating Materials 57 

CHAPTER IX. 

Principles and Methods of Frame Covering 65 

CHAPTER X. 

Covering and Attaching the Crov^n 71 

CHAPTER XI. 

Facing the Underbrim 75 

CHAPTER XII. 

Fitting Velvet Hats with a Joining 79 

CHAPTER XIII. 

Putting On the Facing 87 

CHAPTER XIV. 

The Principle and Application Of the Flange 92 

CHAPTER XV. 
Flanges and Sectional Facings 101 



CONTENTS— Cont. 

PAGE 

CHAPTER XVI. 
Wide and Narrow Bindings 110 

CHAPTER XVH. 
Plain Folds 117 

CHAPTER XVIH. 
Milliner's Folds 124 

CHAPTER XIX. 

Finished and Unfinished Cords 129 

CHAPTER XX. 

Straw Sewing, Part 1 136 

CHAPTER XXI. 

Straw Sewing, Part II 143 

CHAPTER XXII. 

Straw Sewing. Part III 153 

CHAPTER XXIII. 

Straw Sewing, Part IV 159 

CHAPTER XXIV. 
Transparent Hats , 170 

CHAPTER XXV. 

Summary of Millinery Wires 181 

CHAPTER XXVI. 

Summary of Blocking Materials 186 

CHAPTER XXVII. 

Stitches Used in Millinery 191 

CHAPTER XXVIII. 

Co-operative Work Between Workrooms and Trade 

Schools 194 



MODERN MILLINERY 

A WORKROOM TEXT BOOK 



MODERN MILLINERY 

CHAPTER I. 

THE SCOPE OF MODERN MILLINERY 

THE impulse to make beautiful things is in- 
herent in most of us. But before we can 
express the best that is in us in any form of art, 
there must be a period of training and discipline 
to develop an instinctive technique which allows 
a free flow of ideas. 

In common with other workers in the arts, the 
milliner can only express her enthusiasm for line, 
color and harmony after she has acquired by study 
and practice a thorough knowledge of the mechan- 
ics of frame-making and of measuring, cutting 
and applying materials. Thus millinery work 
may be divided roughly into two classes — Con- 
struction and Ornamentation. 

It has been felt by the author of this book that 
the presentation of both classes of millinery work 
in one volume would introduce the beginner pre- 
maturely to the work of trimming and encourage 
the all-too-prevalent tendency to slipshod produc- 
tion. 

Modern Millinery is a complete study of the 
work of those branches of the trade known as 
Preparing, Making and Copying. In the trade 
every aspirant must spend at least three years in 

11 



Modern Millinery 

this important work before she is permitted to go 
on to that still more fascinating field known as 
Trimming and Designing. 

Trimming and Designing — the making and 
placing of bows, floivers and finishes, and the 
adaptation of every type of ornament from the 
museums and other original sources, will he fully 
treated in another volume noiv in preparation by 
the same author. 

This does not mean, of course, that Modern 
Millinery contains only instruction in the drudg- 
ery of millinery. The fundamental line of the 
hat is an essential that has been growing rapidly 
in importance in recent years. In Paris, that still 
unchallenged stronghold of millinery design, the 
development of the line of the hat is considered an 
art worthy of the time and study of the greatest 
of her creators. And in Modern Millinery the 
methods used by the leading creative artists of 
France and America, to develop ideas and express 
conceptions in the untrimmed hat, are put into 
print for the first time. 

This book is planned for use as a school text- 
book. But it is also an adjunct to the progressive 
workroom, where it is invaluable as an aid to 
training the staff in the most advanced methods, 
and it is a friendly guide even to the practicing 
milliner, to whom a few hints on the efficiency and 
economy of modern methods may be worth many 
times the price of the book. 

12 



The Scope of Modern Millinery 

Throughout this book it has been the author's 
aim to present the principles back of each of the 
processes done, so that students following these 
chapters, whether in workroom or school, might 
be capable of meeting the requirements of the new 
styles as they arise. These principles may be 
applied to all kinds and types of hats tomorrow 
as well as today. Unless you get the underlying 
principle given in each of these lessons they will 
be of little use to you. 



13 



Modern Millinery 




Brim for sailor frame. Note the slight upward curve at the 
ends of the brim mires, although the hat to be produced is a 
flat sailor. The reason for this is that the edgewire has been 
made slightly smaller in circumference than the finished hat is 
to be, to provide for the fullness which alwags developes in 
removing the stretched willow from, the frame. The frame 
shown is intended as a form for stretching willow. If it is to 
be used as a foundation for a Malines hat only four brim wires 
will be needed — back, front, and two sides 

CHAPTER II. 

THE FUNDAMENTALS OF FRAME 
MAKING 

WIRE-FRAME making from the trade's 
standpoint is the foundation of millinery. 
In the first-class shops an individual frame is 
made for each customer, giving as much distinc- 
tion to the hat as is found in the made-to-order 
gown, so that wire-frame making is to the milli- 
ner what modeling is to the sculptor. Only 
through a knowledge of this art can the designer 
express the things she has seen or wishes to 
create. 

As accuracy of measurement is the first thing 
a student must learn about wire-frame making, 
the plain sailor frame is the proper place to 



14 



The Fundamentals of Frame Making 

start, as there is no frame that shows up inac- 
curacy of measurement quite so clearly; also the 
sailor frame is the only frame that does not 
require the introduction of curving wires or ex- 
pression of line, which is really an art to be cov- 
ered independently. If this teaching is to be 
worth while we must begin at the foundation, as 
the trade does. 

As these early chapters on the fundamentals of 
frame-making will be used to initiate beginners, 
I shall indicate for the benefit of teachers how 
the successive steps should be presented. 

The lesson on the sailor frame may be pre- 
sented as follows, either by a workroom instruc- 
tress or in a millinery class room: 

Materials 

One roll of white French frame-wire. 

One spool of tie-wire. 

One pair of millinery nippers or pliers of me- 
dium size. 

One accurate tape measure with numbers start- 
ing from each end. 

Lead pencil and note book. 

At this time, place before your class a perfect 
sailor frame which you have made from the fol- 
lowing measurements: 

Headsize 24 

Brim 3 

Right back 3 

Right 3 

Right front 3 

15 



Modern Millinery 

Front 3 

Left front 3 

Left 3 

Left back 3 

Edgewire (Note — the known length 
of edgewire sailor is unnecessary as 
it determines itself). 
Give a little talk as to the importance of wire- 
frame making, telling of the two uses of wire 
frames today: 1, as a block or mould over which 
willow, buckram, cape net or straw may be shaped 
and then removed; (2) as skeleton foundation for 
lace, tulle. Georgette or organdie. Promise your 
class if they will just follow step by step accu- 
rately the measurements you are going to give 
out, it will not be long before they can make a 
strong frame. 

Preparatory Work 

1 — Show the student how to open properly a 
coil of frame wire by removing with the nippers 
the small pieces of wire used to bind the wire 
in coil. Place the coil of wire over both hands 
and shake all the spring out of the wire. 

2 — Show how nippers are used by the cutting 
of many short pieces of wire. 

Under no conditions start with any measure- 
ments until each student has properly opened her 
coil of wire and can easily cut with the nippers. 

3 — Take your spool of tie-wire and properly 
open that. 

4 — Show the student on your finished frame 
which wires are held in place by being wound 
around others and which are tied. 



16 



Making the Brim 

We are now ready to make the brim — frame 
brim and crown being separate in the modern 
sailor frame. In all these operations when first 
presented I have found it best to get the ideas 
of the beginners as to how they should be done 
before demonstrating the one right way. Noth- 
ing else will so fix in the pupil's mind the correct 
method and the reason for it. For example, hold 
up the finished frame and ask the class where 
they would begin to make it. After showing them 
that the headsize is the proper place, start by 
showing how to take part of the curve out of the 
wire, explaining as you go that you intend to make 
each wire the exact shape you want it when fin- 
ished, before leaving that wire. Place your tape 
measure very accurately on the end of the outside 
curve of the wire, holding the end of the tape 
measure on the wire with the nippers. Measure 
off the 24 inches with greatest accuracy. Two 
inches should be allowed for overlapping wher- 
ever wires are joined in this way. Therefore 
dent with the nippers on the 24th inch, but cut 
off at the 26th. If any student's headsize varies 
1/16 of an inch insist on re-measurement until 
each is accurate and properly shaped. Then take 
up the headsize you have measured and holding 
with the left hand take two pieces of tie-wire in 
the right hand. Join one end of the wire to the 
other at the exact spot where the dent is placed. 

17 



Modern Millinery 



/ m i m i mi i n « n i' nii ' m<Wt' " ' """ r»<r"'^""""ft'l u 

^ " — nftv i' vm\mp<\ i ui i M ii \iMp i \ ' <i i i i M"""" 'i '' i""""""'i 

The headsize joined tcith the xcire 

Bind together by twisting the tie-wire round with 
thumb and finger, finish with nippers, then cut 
off and press down the ends. The headsize should 
be bound thus in three places, one at the dent to 
make accurate circumference, second at the other 
end of the join and third in the middle, which 
will mark the centre back of the hat. Ask each 
student to place the oval headsize on the head to 
see if it is shaped properly. Never go a step 
further until each student has an accurate, firm 
and neat headsize. 

Now explain that the next wire to be put on is 
the back brim-wire, because this will strengthen 
the headsize at the join. Show the students that 
the brim-wires continue past the proper headsize 
and are wound around an upper headsize whose 
chief use is for pinning the damp willow to. The 
allowance of wire to be wound around the upper 
headsize will be 2 inches. 

In quoting measurements for a frame it is cus- 
tomary to give only the required finished measure- 
ments. In cutting the wire, however, certain ad- 
ditional allowances must be made for lengths used 
up in the course of operation as follows : 

Rule 1. — At the ends of each brim-ivire always 
add 2 inches for leverage in twisting over the 
headsize and edgewire. This is cut off when the 
frame is finished. 

Rule 2. — Repeated testing has proved that each 

18 



Making the Brim 

time a brim-wire is tvound around a headsize or 
edge-wire, it is thereby shortened yg inch. An 
allowance of ]/% inch for each twist is therefore 
necessary. 




The four stages of a ttnre 
twist. An allowance of one- 
eighth inch must be made for 
each twist in a length of wire 



Keeping these rules in mind, let us return again 
to our original measurements. We find each 
brim-wire is to be 3 inches when finished. But 
before cutting your wires you must figure how 
much longer they must be to allow for twists and 
leverage. First there are 2 inches at each end 
for leverage. Then ^ inch to be taken up in two 
twists. Thus the full length of the wire will be 
7% inches. As eight of these wires are needed 
for this frame and all the same length, measure 
accurately eight wires before attempting to mount 
on headsize. 

At this point take up the back brim-wire and 
start to wind around the headsize where the latter 
is joined. The illustration shows the four stages 
of a wire twist. First, put on the back brim- 
wire, second mark on the headsize with lead pen- 



19 



Modern Millinery 

cil where the front wire should be placed, after 
which make a mark showing where each of the 
brim-wires should be placed. After mounting 
on the back front and two side brim-wires, ex- 
plain to the student that before putting on the 
side front and side back brim-wires it is better 
to put on the upper headsize. The remaining 
wires are only braces anyway and can be put on 
afterwards. This will save much confusion. 

Attaching the Upper Headsize 

It is now time to put on the upper headsize. 
The length of wire standing above the headsize 
will he Ij/g inches as in the beginning two inches 
were allowed and Ys inch 
has been taken up bv j ^J! ^"^^^^^'0 brim, wire 

. O (t^ound itp^er head- 

winding around headsize. 



size the opposite way 
.\^ from the twist around 
>v^ the lower headsize, 

greater strength is se~ 
^\ cured 



Measure accurately from 
headsize wire 1]/^ inch 

along this upstanding 

wire. Bend the remain- 
ing y^ inch at perfect right angle toivards the 
centre of crown. Explain that by having the 
upper wiie bent the opposite way from the lower 
end of the wire a frame is produced which, if 
securely wound, is immovable. Now make an- 
other headsize wire, as the first was done. Place 
it under these upstanding wires and secure it by 
winding the bent ends around it, using for lev- 
erage the 34 ii^ch left after bending. Then cut 
off whatever remains of the ^4 inch wire after 
winding. 

20 



Attaching the Upper Headsize 

Have the students remeasure and they will find 
that the space between upper and lower headsize 
is now one inch and that the brim-wires are now 
S% inches long with the inches allowed beyond 
right-angle curve for edge-wire leverage. At this 
point put on the side-front and side-back wires 
and the frame will be ready for trimming up, 
before attempting to put on the edge-wire. Ask 
each student to see not only that the brim-wires 
are secure on the headsize, but that they make a 
straight line when looking from front to back. 
Also have them look along all the other wires to 
make sure they form a straight line. 

At this point explain that the tendency of a 
sailor frame is to spring front and back and that 
as this frame is to be used for a block on which 
to stretch willow, the wisest thing to do is slightly 
to roll the end of each brim-wire before starting 
to put the edge-wire on, thus making the edge- 
wire enough smaller in circumference to take care 
of the fullness that is bound to be left in the edge 
when taking the willow off the frame. Start at 
the left side-back to mount the edge-wire, taking 
care to keep the frame in line as already shaped. 
After joining all brim- wires to the edge- wire from 
left side-back to right side-back you learn where 
the edge-wire ends. Cut it at the right point, 
join the two ends with tie-wire and then — and 
not till then — wind the back brim-wire around 
double edge-wire. The brim is now completed. 
Go over it and straighten every wire, checking 
up by sighting along the wires from front to 
back, side to side, etc., to see that they make a 
straight line. 2i 



Modern Millinery 
The Crown 

As to-day the wire crown has little or no use 
as a block in the workroom, it hardly seems neces- 
sary to spend much time giving a lesson on it. 
However, one may make in wire the line which it 
is intended to express in the soft crown and there- 
fore it must not be passed by altogether. 

Give a little introductory talk at this time on 
the choice of crown suitable for the brim. 
Call the student's attention to the fact that an 
unbecoming crown has as much to do with spoil- 
ing a completed hat as an unbecoming brim. 




In making the wire crown allowance must be made in the cir- 
cumference .so a.s- to permit the crown head size to slip over the 
brim headsize easily 

22 



The Crown 

Start now to make the crown. Show how it is 
necessary to make the crown headsize enough 
larger in circumference to slip over the brim head- 
size easily. Twenty-six inches is a safe measure- 
ment for a crown headsize for a 24-inch brim, 
but be very sure to point out that there is no 
definite rule as to this matter. Many customers 
look well in a crown that sets farther out on the 
brim or perhaps close to the brim headsize on 
one side and well down on the other. 

Begin now to impress upon your class that while 
accuracy of measurements is necessary at some 
stages of hat-making, effect is the first and last 
word in millinery. Therefore the type and size 
of the crown must be decided, first by the type of 
customer to be adorned, second the prevailing 
style of the season. I will take for measurements 
a simple flat-top crown to show how wire crowns 
are made. 

Headsize 26 

Height of crown 3^ 

Length of tip 8 

Width of tip 6 

Diagonals 7 

First measure the crown headsize (26 inches), 
dent, cut off at the 28-inch mark and join in an 
oval with tie-wire. If the height of the crown is 
to be 31/^ inches when finished, bend a wire as 
shown in the illustration. This wire is to extend 
from front to back. 



2' 

for leverage 



f )'ll'llllll'nil>''llllliriniWHIIinilliniiniini)iiiin:iiimi,i,n,,mTmr fi^ 



<?' . ! ^ 



^ Unoi-h oi Crown ireunc 
"^ fror^i io bad 



23 



1^ 

2" 

\ -for la'ertzqe 

'.' iiii'iinir/in..' ~ 



Modern Millinery 

Then bend the wire that extends from side to 
side. This wire is bent exactly the same, except 
that the top dimension will be 6 instead of 8. Next 
bend the two side-front to side-back wires. In 
these, the top dimension will be 7 instead of 8, 
and the side-lengths will be 3>^ instead of 3^, as 
these are tied in place with tie-wire, and do not 
need the extra yg required by the other two for 
the twist around the crown-wire. 

Attach all these wires, remembering that A. B, 
C, D are wound around the crown headsize, while 
the other wires are merely tied with tie-wire. 
After winding the ends around the crown-edge 
wire, tie the crown-wires at their intersection 
with tie-wire. Tie a circular brace around the 
crown where the side-crown turns at right angle 
to form the tip. Use your eyes in tying in this 
brace to keep crown in line. Tie one circular 
brace between this brace and centre-crown and 
braces around side-crown to brace it. 

The brim also at this time may be braced by 
using two circular braces. Explain that the num- 
ber of circular braces is determined bj^ the block- 
ing material to be used on the frame. Cape net, 
for instance, requires more braces than the firm 
willows that do not sink between wires. 

The brim and crown are now completed. 

I find it takes many attempts before students 
are able to make this frame successfully, but if 
the instructress is patient, she will insist on re- 
peated attempts until the frame is securely made, 
imparting in this first frame accuracy of meas- 
urement, which is the first essential of wire-frame 
making. 24 



CHAPTER III. 
EXPRESSION OF LINE 

IT is clear that accuracy of measurement must 
be carried out in every phase of wire-frame 
making". But in carrying this question of accu- 
racy into this lesson let us understand its proper 
place. What place has it in wire-frame mak- 
ing from its high artistic side? Is it, after all, 
anything more to the art than the wire or the 
nippers unless coupled with it is a sense of ex- 
pression of line? The two big things in wire- 
frame making are: 

First, accuracy of measurement, which is 
merely an instrument to help achieve the second 
essential, expression of line. 

Making a Mushroom Frame 

After making the plain sailor frame, the best 
introduction to the more difficult frames is the 
simple mushroom frame. Herein will be taken 
the first steps in shaping or curving wires that 
are also accurately measured, showing that wires 
may express as manj^ different lines as there are 
people handling them. 

I will give the simplest possible measurements 
for this mushroom frame: 



25 



Modern Millinery 

Headsize 23 inches 

Edgewire 29>^ inches 

Brim wires are all to be 1>4 inches when finished. 
Finished measurements of frame from 

Front to back 10>^ inches 

Side to side 8)4 inches 

Side front to side back. . 9^/^ inches 




Simi)le Mushroom Frame 

Give a little talk at this time on the choice of 
frame wire best adapted to carry out one's de- 
sign. Generally speaking, it is best to choose 
from the three qualities of frame wire, the 
medium-weight wire instead of the heavy wire 
that was used in making the plain sailor frame, 
as this softer wire will better express the line 
of a curved brim. 

Start this frame as you did the plain sailor — 
at the headsize. Ask your class to measure shape 
and tie properly a 23-inch headsize. 

Go through the class, hold up each headsize and 
ask every member of the class to criticize it. 

26 



Making a Mushroom Frame 




Never answer any questions that once have 
been clearly covered, hut instead call on members 
of the class to answer them. 

At this time hold up the finished mushroom 
shape and let the students discuss the points of 
similarity between this frame and 
the sailor just made. Have each 
student bend a wire as shown in 
the cut. It will be recalled that 
each brim-wire is to be 1>4 inches 
long, but as this wire is to be 
wound around the headsize and 
edge - wire, y^ inch additional 
should be allowed for these twists, 
making the brim-wires at this stage all 1% inches 
long. The 2 inches on each end of the wire is for 
leverage to wind around the edge-wire. 

As each wire is of equal length, have 8 wires 
bent and properly cut for the brim-wires. The 
wires are now ready to mount on the headsize, 
which should be marked with a pencil at eight 
equal points. 

When this is done call attention to the first 
point of difference between this frame and the 
sailor — namely the different position in which 

the brim-wires are placed on 

the headsize. Instead of being 

^ at right angles with the up- 

-5 right wire, it should be in 

^ position as shown in the cut. 

Ask your students to place 

four brim-wires on at this 

angle, then put on the upper 




27 



Modern Millinery 

headsize by first measuring lyg inches on the 2- 
inch wire left standing above the headsize, and 
winding around the upper headsize. The frame 
now has four brim-wires mounted. It is now 
time to curve each wire. Point out to the class 
that this is the beginning of a phase of frame- 
making that will be elaborated as different shapes 
are desired, until they can express any shape they 
see in shop windows or pictures. In this mush- 
room frame, unlike the sailor, a measurement is 
given for the edge-ivire, as this governs the size 
of the finished shape. Make up the edge-wire 
according to the measurement already given, as 
you did with the headsize. Mark with a lead 
pencil into eight equal parts and wind in place 
the four wires already wound around the head- 
size. Then mount the four remaining brim-wires. 
Tie one circular brace half way between the edg- 
ing and the headsize. 

At this point give out finished measurements 
for the frame. Turn your own finished frame 
over and show where these measurements come 
from. 

Front to back IO34 inches 

Side to side 8^4 inches 

Side front to side back. . 9>^ inches 

The value of finished measurements is as a 
standard to tell whether the frame is properly 
shaped. The mushroom brim is now completed. 
As rarely, if ever, wire crowns are used for blocks, 
I shall not give instructions here as to the making 
of suitable crowns for mushroom brims. 



28 




Wire frame for irre(/ular turban. This shape illustrates faciny 

lines 



CHAPTER IV. 

1— MAKING A FACING LINE 

2— MAKING A FRAME FROM 
MEASUREMENTS 



T AM going to use the same frame, that of an 
-■- irregular turban, to present both of these les- 
sons. In the first lesson on the sailor frame we 
covered the first point in wire frame-making 
accuracy of measurements , in the second lesson 
on a mushroom frame we learned the simplest 
lesson on curving wires or the expression of line. 
The turban frame we are about to study will add 
to accuracy and expression of line a new factor, 
namely, a facing line. 

29 



Modern Millinery 

A turban frame has been selected for this les- 
son because turbans always have facing lines. 
Other frames — aside from the mushroom, which 
never has a facing line — may have a facing part 
way around the hat, which may be lost sight of 
across the front or one side. 

First, let me explain the value of a facing line. 
There are very few customers who do not want 
each season some type of small turban. The ques- 
tion arises, how is it possible to make turbans 
becoming to various types? At this point the 
facing line comes to our rescue. You will observe 
by the frame illustrated, the wires drop down 
from the headsize instead of coming out straight 
as on the sailor brim and, unlike the mushroom, 
these wires are not to be shaped or curved be- 
tween the headsize and the point where the fac- 
ing line is to be bent. 

How Deep Should the Facing Line Be? 

The question at once arises how deep should 
this facing line be bent. Two things govern the 
depth of a facing line : 

1. — Whether it is becoming to show a good deal, 
or a very little, of the hair. 

2. — The style of the season. 

To illustrate this second point: A few seasons 
ago all small hats were worn perched on top of 
the head, and straight, instead of being tilted; 
and facing lines were very shallow at all points. 
Following that season came a style calling for 
small hats to be worn at an extreme angle; con- 

30 



How Deep Should the Facing Line Be 

sequently the facing line was bent much deeper 
on one side than the other, to throw the frame at 
an extreme angle while still placed straight on 
the head. The best way to make a frame for an 
individual is to place the unfinished wire frame 
on the head and bend the depth of facing line on 
the customer, trying first what the style of the 
season calls for, and if this is not becoming, modi- 
fy in depth and angle to suit the customer. 

How Close to the Face? 

When the depth of the facing line is deter- 
mined, the question arises, how close to the face 
should the angle be? It is generally true that a 
customer with a small face needs the circular wire 
drawn close to the hair to avoid a heavy hat, 
while one with a full face can carry a facing line 
let out more by the circular wire. In both these 
cases the facing line may be the same depth. The 
point of difference is the circumference of the 
facing line. 

It is even possible to add a facing line to a sailor 
hat. I have in mind a customer who was very 
desirous of wearing a sailor but had been unable 
to find one that was becoming. An irregular fac- 
ing line was introduced on a sailor frame not 
only bringing the design down on the head, but 
adding a tilt to the construction of the hat which 
was most successful. No matter how becoming 
the outline of a hat may be, if the facing line is 
too heavy, or is out of proportion, the hat is 
ruined. 

31 



Modern Millinery 

In the point of construction, our turban frame 
is now bent for the depth of the facing line; a 
circular wire is tied at this angle with a small 
piece of tie wire, to hold the facing line in place 
and make the proper size of that facing line. 

Frame-making from Measurements 

The point I have tried to make thus far in 
reference to the turban is the value and use of 
the facing line and how the most becoming meas- 
urements are found. During the remainder of 
the lesson I am going to write on making wire 
frames from measurements. For this lesson use 
the following measurements, which when com- 
pleted will make an irregular turban frame. 

Inches 

Headsize 23>^ 

Back ■ >i — 3^ 

Right Back >^— 3% 

Right y2 — 3>^ 

Right Front y2—2y2 

Front y — 3^ 

Left Front t^.— 4>^ 

Left Vi—^Va 

Left Back i/>— 5 

Facing Wire 25>{; 

Edgewire, from right to left, start- 
ing at back: 3j^ — 8^, dent — 1314 
—18, Front 21i/, — 25^4 — 28^— 
32^. 
Before starting to make the turban frame I 
will explain my measurements. These measure- 
ments are given as they appear continuously on 
the tape measure, as is done in the best shops. 

32 



What the Measurement Figures Mean 

You will notice the first measurement appear- 
ing on all the given measurements for the brim 
is 14, meaning that the wire between the head- 
size and the angle of the facing is 1/ inch in 
length. Without removing the tape measure 
from the frame, the measure continues over the 
^-inch mark to 3^ for the back-brim wire. Sim- 
ilarly the right back wire is bent at ^ inch and 
the measurement is continued to Sj/g. 

In brief, each brim-wire measurement on the 
turban includes the lA given for facing depth. 
These measurements are taken continuous, to 
save time and labor. 

To make the frame, first join the 23V2-inch 
headsize in a ring as explained in the two pre- 
vious lessons. Then start to measure the brim- 
wires, as shown in the diagram 
herewith. Why measure ^ inch 
when the measurements clearly 
state i^ inch? Because yi must 
be added to the Yi inch for wind- 
ing around the headsize. With- 
out removing tape measure, dent 
at 3^ instead of Zy% (as y^ inch " ^''^'" 
is also allowed here for wind 
around edgewire) . The 2 inches 
beyond the given measurement 
is for leverage in attaching the 
edgewire. After accurately 
measuring the back brim-wire Diaf/mm of ^ Bent 
as shown by the diagram, mount 




33 



Modern Millinery 

on the headsize. Continue to measure and mount 
each brim-wire according to continuous measure- 
ments given. Use the diagram given for back 
wire as your guide to proper allowances and the 
surplus wire left for leverage. 

The brim-wires are now placed on the headsize 
and the dent is made on each wire for the depth 
of the facing line. 

The measurement given for the facing wire is 
25% inches. Measure accurately 24% inches; 
dent, allow 2 inches for overlapping, join with tie- 
wire and form into an oval shape. Mark with 
lead pencil into eight equal parts, showing where 
each brim-wire is to be tied to the facing-wire. 
Place the facing-wire on the top or inside of 
frame. 

As this frame is being made from measure- 
ments, then measurement must be the guide 
throughout the hat as to its shape. The slight 
curving or expressing the line will be done after 
placing on the edgewire. 

Refer now to the edgewire measurements. 
You will find the greatest measurement given is 
32%. Measure accurately 23% inches, dent, al- 
low 2 inches for joining, join in a ring with tie- 
wire. Start with your tape measure at centre 
back of edgewire, and measure continuously; 
without removing tape measure from right to left, 
mark with lead pencil at first measurement given 
in the chart, which is 3~A. This means that the 
proper place on the edgewire for the brim side- 
back wire is 3^ inches from the centre back. 



34 



What the Measurement Figures Mean 

Now without removing tape measure continue to 
mark on the edgewire at the various distances 
given, for the placing of the following brim-wires : 
8^, right wire; 13^, right front wire; 18 (mean- 
ing that from the centre back to the front of this 
wire frame is 18 inches), 21^, left front wire, 
25 >4, left wire 2Sy^ left back, and 32^ for the 
back wire. 

The frame is pretty well in shape now, as the 
continuous edgewire measurements force it to 
be so. Now curve the brim wires to make a soft 
continuous line. Turn frame over and measure 
underneath brim according to continuous finished 
measurements which are given. 

Front to back 3—1114—14 

Right to left 2%— 91/2— 141/2 

Right front to left back 1%— O-Ys— 13% 

Left front to right back 4— 11%— 14¥8 

These front-to-back measurements mean that 
starting from the edgewire and measuring con- 
tinuously from the edgewire to the headsize, the 
measurement is 3 inches ; and continuously across 
the headsize to the brim-wire is 11>^ ; continuously 
to 14 is the entire measurement of the finished 
frame from front to back. The remainder of the 
measurements given may be interpreted in the 
same way. The value of finished measurements is 
in the fact that they test accurately, whether each 
measurement has been followed and whether the 
wires aside from, being accurately measured are 
properly shaped. 



00 



Modern Millinery 
Bracing the Wire Frame 

The question as to the proper bracing of wire 
frames which are to be used as blocks has not 
thus far been explained as the sailor and mush- 
room brims were small and would not permit a 
succession of braces. 

The question of how^ many circular or brim 
braces are to be used is governed by two things: 
1. The preservation of the lines of the frame dur- 
ing the blocking process. 2. The nature of the 
material to be used in blocking. 

Generally, more braces are used on a frame 
where cape net is to be used than one on which 
willow is to be blocked, as cape net is a thinner 
material than willow and unless the frame is 
properly braced the cape net will sink in between 
the wire and lose something of the line desired. 

On the frame we have just completed I would 
tie, first a circular brace 1 inch above F wire; 
another, 1 inch from the edgewire, as the depth 
of the brim on the left side is much deeper than 
on the right side. A circular brace should start 
at F wire and continue around B wire. This 
brace should be wound around the F wire and 
the B wire; the space intervening should be di- 
vided in half between the two braces already on 
the frame. All braces should be tied and placed 
on the inside of the brim wires, so that the im- 
print of the wires will not be so pronounced on 
the damp willow. 

In large irregular shapes there are often six- 

36 



Bracing the Wire Frame 

teen brim-wires placed on the headsize instead of 
eight. The eight additional ones in such cases 
act as braces running up and down. Measure- 
ments are never given for these braces, their 
shape and measurements conforming to the wires 
next to them. 



37 



CHAPTER V. 

COPYING FRENCH HATS WITHOUT 
MEASUREMENTS 

In the former lessons we have been considering 
the tedious but necessary rudiments of wire 
frame-making. Hoivever, we have been leading 
up to the important use of wire frame-making in 
the other more interesting aspects of the art of 
millinery. From this point the chapters should 
be followed by the milliner with intense interest, 
since it gives her what has never before appeared 
in print — the actual methods in use in the big 
Fifth Avenue workrooms today. 

EACH month during the busy season the large 
wholesale houses in New York City import 
a great number of French hats. Some retailers 
are able to buy the original models, but the vast 
number must use copies made up in their work- 
rooms. 

This source of vital style is only open to the 
milliner who can copy and design in wire. The 
wholesale houses send out notices to the retail 
shops that on a specified date they will show new 
French models, their object being both to sell ma- 
terials to reproduce these French hats, or to sell 
the original models. On these dates, copyists are 
sent out from all the best retail shops to make 

38 



Copying French Hats Without Measurements 




(Above) Leonfine model imported by Judkins §' McCormick Co. 
(Below) Brim frame for blocking this model, the lower half be- 
ing unfinished, to shore) how edge-wire can be shifted np and 
down the brim-wires before being clinched by the final twist 



Modern Millinery 

sketches and take notes on the French models dis- 
played. For the purpose of this lesson we will 
proceed as these copyists do when a new showing 
is announced. 

Through the courtesy of Judkins & McCormick 
Co., New York, I am able to show herewith pic- 
tures of two very beautiful French hats, photo- 
graphed in their exhibition room. I have chosen 
these two models because they show the two uses 
of wire frames in copying French hats. 

The first illustration is taken from a Leontine 
creation. On this model the wire frame is used 
as a block over which to stretch cape net. 

The second illustration is taken from a Suzanne 
Talbot creation, and shows use of a wire frame 
as a skeleton for a lace hat. 

I will take notes from the first illustration, as 
notes are taken by copyists from these original 
hats. 

1. Name of the designer: Leontine. 

2. Color scheme used: Orchid and brown, pas- 
tel colors combined with the trimming. 

3. Outline of brim : Large poke shape — very 
short in back. (Note — At this time the copyist 
studies every line of the brim, as, without meas- 
urements, she expects to make a copy of this brim 
in a wire frame, every line of which must be like 
the original.) 

4. Materials used for covering brim : Top 
brim is covered first with orchid taffeta, then re- 
covered with one thickness of orchid crepe chif- 
fon. Facing is covered with brown taffeta clouded 
with brown crepe chiffon. 

40 



Copying French Hats Without Measurements 

5. Arrangement of brim covering: Top brim 
is covered plain, first with the taffeta and second 
the orchid crepe; material does not extend over 
brim; edge is sewed, long and short stitch, }i of 
an inch from brim edge and cut away leaving un- 
finished edge. Under-brim covering is put on in 
three parts or flanges; each section is finished 
with a wire, the first one extends over the edge 
of hat on top. Brim is finished with a wire ^ 
inch from edge of hat giving the effect of a nar- 
row binding on top; the second flange is about 2 
inches from brim edge ; underneath, this too, has 
a wire finish; the third wired flange fills in the 
remainder of space into the headsize. 

6. Shape of crown : Rough sketch of outline. 

7. Materials used for crown: Orchid crepe. 

8. Arrangement of material used on crown: 
Crown-tip or top is covered plain with orchid taf- 
feta; this is covered or clouded with the orchid 
crepe. Side crown is covered plain with taffeta 
for foundation; the crepe chiffon is then draped 
around side crown in an irregular drape. 

9. Color and type of trimming used: Six clus- 
ters of orchid wheat, made in rosettes with three 
small roses in centre, are used as trimming 
around crown. One cluster of wheat with five 
roses is used on brim. 

10. Exact note as to placing of trimming: Two 
clusters are placed near the front. One cluster 
is placed near the right side, another near the left 
side. Two clusters are also placed near the back. 
A spray using five roses with wheat is placed on 

41 



Modern Millinery 

the brim edge at right side to finish streamers, 
which are made of the two colors used on the hat 
— orchid and brown crepe chiffon. These stream- 
ers are 12 inches wide and may be made any 
length desired ; they are hemmed along side and 
ends. 

After taking notes and sketches similar to these 
of each hat shown at the opening the copyists and 
designers return to the various shops they repre- 
sent and start in the workroom to make them. 

The first thing to be done is to make a frame 
like each of the hats. 

In the wire frames made in previous lessons 
we have had measurements given ; this time we 
are not going to use measurements with the ex- 
ception of the headsize, which may be made the 
average size (24 inches). 

Experienced copyists start at once on their re- 
turn from seeing French models to have their help 
join a number of 24-inch headsizes, then place 
eight long brim-wires on. These frames are then 
passed to them and they shape the wires to re- 
semble, as near as possible, the hats they saw. 
To give the copyist an opportunity for experi- 
ment, an edge-wire is usually tied on to the eight 
spoke-wires, the tie-wire being kept loose so it 
may be easily adjusted by sliding back and forth 
to the desired degree. After consulting the trim- 
mer or designer who accompanied her as to 
whether the line of the edge-wire is right the 
copyist twists the brim wires into their final 
places on the edge-wire and passes the frame over 

42 



Copying French Hats Without Measurements 





Suzanne Talbot black lace model imported by Judkins 
McCormick Co., and its wire frame foundation. 



43 



Modern Millinery 

to the maker to be either braced for a block or 
finished up (with fewer braces) for a lace hat. 

Below the illustration of the Leontine hat is a 
wire frame of the hat made without measure- 
ments as just described. One side of the frame 
is left unfinished to show the frame under con- 
struction. This frame is braced sufficiently to 
be used as a block for cape net, over which cape- 
net form the hat is finally made. The crown block 
of wire illustrated elsewhere is also completed 
for stretching the cape net. 



Wire Frame for a Lace Hat 

The second illustration (a Suzanne Talbot hat) 
I shall not give detailed notes on, my object being 
to show on the other hat very definitely how notes 
should be taken by beginners. Experienced copy- 
ists and trimmers make very brief notes and 
carry sometimes a line of fifty hats in their minds 
until they are able to make outlines of them in 
wire. 

Spoke wires for transparent hats should not 
be wound over the edge-wire as they are when 
the frame is used as a block. Instead, the end of 
the spoke wire should be bent parallel to the edge- 
wire for the space of about 2 inches and tied with 
tie-wire. This does away with the bumpy edge 
caused by winding brim wires on the edge of 
the frame. 



44 



Wire Frame For a Lace Hat 




Crown Block to be used for both models. 

Below the Suzanne Talbot illustration also is a 
wire frame (made as before merely from studying 
the hat, without measurements). This frame is 
not to be used as a block, but rather as a skeleton 
frame on which to make the lace hat. The same 
crown block as used for the Leontine hat may be 
used to stretch black cape net over for a crown 
foundation for this Talbot hat. The lace is so 
loosely arranged on the crown that the slight dif- 
ference in crown shape can be suggested on the 
draping. The entire secret of success in making 
any lace hat is so to adjust the material to the 
frame as to express style and chic. 

Calculating Materials Needed 

The amount of shadow lace needed to make this 
model, can easily be calculated. First measure 
loosely around the edge of brim. Note that be- 



45 



Modern Millinery 

hind the soft lace edge, another row of lace is 
used to cover the brim both on top and under- 
neath, hence three times the circumference of 
the edge will give the amount of lace needed for 
the brim. Twice the circumference of the crown 
base will give the amount of lace needed for the 
crown, as one row is not enough to cover the 
crown. 

Two lacquered daisies are placed on the right 
side brim close to the crown. The one on top of 
the brim is bronze, the one underneath, on the 
facing, placed close to the headsize, is a dull jade. 
On the left side, close to the crown, is one bronze 
daisy. 

It is by the method I have described that hats 
are copied from designs seen on the street or in 
magazines. Original designs are made in just 
this way. So it is not hard to see that wire frame- 
making is the biggest thing to know, before one 
can expect to succeed in millinery. Every one 
must master this foundation work or she can 
never expect to succeed. 

The manufacturers of frames do the best they 
can to keep up with the styles, but no manufac- 
tured frame can take the place of a light hand- 
made frame, and in the matter of designing, it is 
out of the question to find frames that can express 
what an artist designer may have in her mind. 
Therefore, what I said in the first lesson as to 
the importance of wire frame-making is true. In 
the hands of experienced workers it has the same 
possibilities as clay in the hands of a sculptor. 

46 



CHAPTER VI. 

BRACING WIRE FRAMES, CHOICE OF 
BLOCKING MATERIAL 

ALL designers and trimmers in workrooms 
have had the experience, after they have 
carefully outlined a choice shape in wire, of hav- 
ing the line ruined by a maker either in placing 
the braces or in using poor judgment as to the 
number of braces necessary. 

You will observe the first brace running around 
the brim is placed about an inch from the head- 
size. This is the proper place to start bracing any 
frame, just as the headsize is the place where you 
start to make the frame. 

If the frame has no facing line the second cir- 
cular brace should be placed about an inch in 
from the edgewire, as the edgewire is the line that 
chiefly needs protection. 

The space between the two circular braces 
should be filled in with as many braces as are 
necessary, varying according to the size of brim. 
You will observe from the illustration that the 
third brace continues around the entire brim and 
that a fourth brace extends part way around the 
wide part of the brim and is wound around the 
spoke wires. 

If a wire frame has a facing line the second 
circular brace should be placed to brace the facing 

47 



Modern Millinery 




48 



Bracing Wire Frames, Choice of Blocking 

Material 

wire and the third to brace the edgewire, as in 
the course of construction a facing wire is placed 
on the original frame after the headsize and be- 
fore the edgewire. 

Very often, in bracing large wire frames of ex- 
treme line, which are to be used as blocks, aside 
from the circular braces, eight additional spokes 
or brim wires are used to brace the frame up and 
down as well as around. 

Great care should be used when placing braces, 
to see that each brace follows closely the line of 
the wire which it is bracing, to protect every curve 
of the original shape. 

All circular braces are tied with tie wire on the 
top of the brim, as the damp willow or cape net 
is stretched on the facing, which must therefore 
be kept free of raised wires. 

Bracing the Crown 

Bracing a crown is a matter of tying as many 
circular braces around on the inside as the size of 
the crown calls for, placing the braces between 
1 and 11/2 inches apart. 

In conclusion, as to bracing, / should say that 
bracing is of equal importance with making the 
original shape of wire. A wire frame is abso- 
lutely useless as a block unless it is strong enough 
to stretch the damp material on. 

In bracing wire frames for lace hats, where the 
frame is used as a skeleton frame to drape the lace 
on, as few braces are used as are absolutely neces- 

49 



Modern Millinery 

sary to keep the frame in shape. These braces 
are always placed, according to the design of the 
lace, under the solid part of the pattern, to avoid 
showing through. 

\ 
Choice of Blocking Material 

The materials that contain shellac and may be 
dampened and used for blocking are as follows: 
Heavy and medium-weight willow and cape net 
(or rice net, as it is sometimes called). Among 
the willows are a light-weight willow without 
dressing, also a heavy crinoline — more like tailors' 
canvas — that is sometimes used in blocking. 
These materials are not dampened because they 
contain no sizing, but are often stretched over a 
wire frame or are shaped with wiring, or cut from 
patterns. 

I believe the easiest way to show how to choose 
proper blocking materials is to take the Leontine 
model illustrated and make it up in every type of 
material used in millinery. 

Cape net is chosen for the frame pictured, as the 
finished hat is to be made of orchid crepe chiffon. 
Cape net is the lightest blocking material con- 
taining sizing and it also may be tinted to match 
the material by painting over with a brush with 
Tintex or any other dye or water color, helping to 
make inconspicuous when in the hat. 

Cape net would also be used in blocking on this 
frame if the hat was to be made of Georgette 
crepe. 

For organdie, a choice may be made between 

50 



Choice of Blocking Material 

using a blocked cape net, or making the hat on a 
wire frame, best adapted for the brim in this 
shape as it would be more secure to stretch the 
heavier materials over. 

Cape net is used for blocking all crowns as wil- 
low is too heavy. The majority of crowns today 
are soft. However, some blocked crowns are 
used. In the Leontine hat, made of chiffon crepe, 
a blocked cape net crown is used. 

Two points today make a hat salable. 1st. The 
style of the hat. 2nd. It must be light in weight. 

These two points should be considered in the 
choice of blocking materials. Effect is what we 
desire. Thus it is not infrequent that cape net is 
chosen for a floppy taffeta hat, or if it were to be 
stiffer in effect, willow would of course be used. 
Should one desire a firm stiff effect in a small hat, 
again willow might be used because it would best 
carry out the effect desired, regardless of the 
weight of material the finished hat might be cov- 
ered with. Heavy willow is used where a slick 
firm frame is desired in a large tailored hat, 
whether the outer material to be used is satin or 
velvet. 

Undressed willow and heavy crinoline or tai- 
lored canvas are often used where frames are cut 
from patterns — or perhaps either of these mate- 
rials may be stretched over a wire frame and left 
pinned on until they take the shape of the frame. 
The edges of these soft frames are generally left 
unwired and instead are bound with crinoline to 
get the soft or collapsible effect desired. 

51 



CHAPTER VII. 
BLOCKING THE FRAME 

AFTER determining what blocking material is 
best to carry out the effect desired place the 
brim of the wire frame on your sheet of willow 
or cape net and cut around, leaving a large allow- 
ance for pinning and stretching. 

In blocking cape-net frame over ivhich material 
by the yard is to be fitted two thicknesses of the 
net are ahvays used. After doubling the cape net 
and pinning the two thicknesses together so they 
cannot separate, cut around roughly to allow 
ample size for frame to be blocked. Place the 
double cape net in a basin of hot water, completely 
covering the net. Then quickly remove, without 
squeezing. 

In blocking a shape similar to that already 
shown, place the corner or bias of double cape net 
to the front (as that is the deepest part of the 
brim) . Pin the cape net securely to the edgewire 
for the space of about three inches, placing pins 
as shown in a previous illustration. After fitting 
a few inches on the edgewire, fit an equal space 
on the headsize, cutting the material in the head- 
size as you fit. In this manner fit the entire brim. 

Take great care not to pull the frame out of line 
or leave the cape net too loose. After carefully 
pinning look your frame over and see if it is in 

52 



Blocking the Frame 

line ; if so, hang the brim over the heater to dry. 
After it is dry pencil-mark the edgewire and head- 
size line, remove the pins, mark the front and 
back of frame, and if in stretching the willow or 
cape net any seams have been made, cross-stitch 
these together before removing the cape net from 
the wire frame. 

Slip the cape-net frame off the wire frame, tak- 
ing care to preserve the shape perfectly. Accu- 
rately join an oval headsize the exact size of the 
original wire frame and tack it to the headsize of 
the cape net frame. Place the wire on top of the 
frame if it is to be left in when the hat is com-' 
pleted. Tack in four places to hold the wire in 
place; then buttonhole stitch the entire wire in 
place. Afterwards, if the frame needs it, care- 
fully press with a warm iron ; do not trim off the 
edge of the frame where the edgewire is to go, 
until after pressing the frame, as in this way it is 
less apt to get out of shape. After pressing, 
measure your frame as to size and trim carefully 
on pencil mark where the edgewire is to be placed. 
Do not join the edgewire in a ring, as in the case 
of the headsize, but start to wire from the back, 
with the wire open. Buttonhole stitch the wire 
around the edge, taking stitches about a half 
inch apart. 

// the frame turns down, place the edgewire on 
the under-side, just far enough back to catch the 
buttonhole stitch taken over the edge. // the 
frame tiirns up, place the edgewire on the top to 
keep the frame in line. 

53 



Modern Millinery 
Where Extra Braces are Needed 

As sailor frames are inclined to spring front 
and back, the edgewire should be placed on top 
to help hold the frame in line. The question of 
extra brace-wires being used on cape net or wil- 
low frames is an important one. If a frame has 
an extreme line on one side, this side should be 
wired with a fork-shaped brace, as illustrated 
herewith. The large part of the brace goes next 




y\//RE 



to the edgewire. This should be carefully button- 
holed to the top or to the facing of the frame 
(whichever side of the frame the shape requires) . 
The brace wire does not stop at the headsize but 
continues up above the headsize and is joined to- 
gether. This little extension may be attached to 
the crown when the hat is completed and thus 
make a purchase on the brim. As many of these 
braces may be used as necessary, but if more than 
two are needed it is best to choose a heavier block- 
ing material for the entire frame, as these braces 
are apt to show through the material, no matter 
how carefully they may be covered with crinoline 
or tarleton. 



54 



Where Extra Braces Are Needed 

Willow is placed or pinned on a wire frame the 
same as cape net, except that only one thickness 
is used, as willow is smoother on one side than the 
other. Care should be taken to place the smooth 
side of the willow on the most conspicuous side 
of the hat. 

In stretching small shapes of willow or cape net, 
bias strips of the blocking material will stretch 
and fit to better advantage than straight material, 
and require less tvillow or cape net. 

Crowns may be blocked by placing a double bias 
strip of cape-net around the side-crown, pinning 
it to the edge and top side-crown wires, with a 
small piece of cape-net covering the tip. Or they 
m.ay be blocked by placing a square of double cape 
net over the entire crown, pleating the cape net 
flat around the side crown, and cutting the surplus 
cape net out from under the pleats. When the 
cape net is dry remove the pins, mark the edge 
or base of the crown and remove from the block. 
If a separate piece is used for the tip, cross stitch 
this piece to the side-crown before removing the 
cape net from the wire frame. 

After the blocked net is removed, join a wire 
on a ring the size of the crown base, and button- 
hole-stitch it to the lower edge of the crown. 
Press carefully, and crown and brim are now 
ready for use. 

Blocking materials which have no dressing or 
sizing are handled, so far as stretching and pin- 
ning are concerned, the same as dampened frames, 

55 



Modern Millinery 

the only difference being in the wiring The 
Irame is often bound with crinoline instead of 
being- wired, as hats made of undressed willow 
or crinoline are generally collapsible and do not 
require a brim edge. 



56 



CHAPTER VIII. 
CALCULATING MATERIALS 

THERE is probably no question oftener asked 
by students in millinery classes than, **How 
much material shall I buy for my first hat?" In 
workrooms where there is an abundance of mate- 
rial the question as to the amount of material 
needed for a single hat must be as carefully de- 
cided as where one is buying for a single hat. 
The stock girl who cuts the material and gives it 
out for each hat is frequently careless about wast- 
ing material. 

I have been surprised to find that many students 
of millinery who have had trade experience calcu- 
late for the amount of material needed for in- 
dividual hats merely by measuring across the 
frame from front to back, allowing two inches for 
overlapping and sewing. This measurement is 
then doubled (to provide for the top brim), a 
quarter of a yard is added for crown tip, and a 
quarter of a yard on the bias is purchased for 
the side crown. 

/ most decidedly take exception to this pro- 
cedure on the ground that the width of the brim to 
he covered plays an equal, if not greater, part than 
the length in calculating material. This measure- 

57 



Modern Millinery 

ment should determine the width of material to 
buy. 

If you will look at the illustration below I am 
sure it will be clear to you how to measure and 
calculate for material to cover the brim. 



/ 



One inch 
extension 
xl lowed <3.t 




Sink Tape mcs^iLTO 
to depth ofhc3.clsi2& 



-^- 0^---^ 



m '"' 4i' 



^-,-- 2%-- - 

How to measure for brim-facing material. The dotted line 

represents the tape measure. The hat should he measured in 

the same waif from side to side and front to hack 

You will see from the illustration that the brim 
is measured on the underside. In measuring from 
front to back, a tape measure is started one inch 
beyond the front brim and continued along the 
frame until the headsize is reached. At this point 
the tape measure is turned down into the headsize 
as far as the upper headsize (as the fitting of 
material must be carried to upper headsize). 
Then carry the tape measure straight across to 
the upper headsize at the back of the hat. Here 
it is again brought out and continued to the out- 
side edge of the back brim and one inch beyond. 
Measure frame from side to side in the same 
manner. At this time also observe measurements 
of crown tip from front to back, and from side to 



58 



Calculating Materials 

side. With these figures you are ready to calcu- 
late the needed material. 

Material for the brims of large hats is bought 
on the straight; crown tips are also made from 
the straight material. Therefore, we will add all 
our straight measurements together. 

Let us say that the brim is 17 inches from front 
to back and 21 inches from side to side; and that 
the crown tip measures 9x11 inches. 

As the facing of the brim on a hat measures the 
same as the top, doubling the amount in length 
gives the length necessary for top and facing of 
brim. The facing of the hat in question measures 
17 inches from front to back ; doubling it gives us 
34 inches. The crown tip measures 11 inches 
front to back. Therefore our calculation for 
length of material needed will look like this: 

Brim covering (top and facing) . . 34 inches 
Crown covering 11 inches 



45 inches 



The length of material required, therefore, will 
be 45 inches. 

Calculating Width of Material 

Before considering the measurements as to the 
width of brim and tip, I should like to give a table 
of the different widths of materials that may be 
purchased at the wholesale and retail stores, so 
that we may judge intelligently which width will 

59 



Modern Millinery 
cut to best advantage for the measurements given : 

Velvets 18, 22, 40 inches wide 

Duvetyns and Velours . 18, 22, 40 inches wide 
Satins and Taffetas 36 inches wide 

The brim width given above measured 21 inches 
from side to side and the crown tip 9 inches. 

If you could purchase velvet the color and qual- 
ity desired from the scale of widths you could 
readily see that ll^ yards of 22-inch velvet would 
cut very economically. But exactly the right ma- 
terial cannot always be found in the width desired. 
Suppose you wanted a special shade in a velour 
and found it only in the 40-inch material ; it would 
be equally as accurate and perhaps less expensive 
to buy half as much in length, knowing that the 
top and facing of the brim could be safely cut 
from this extra width. 

Calculating Satin or Taffeta 

Suppose you desired satin or taffeta for this 
same hat. The width of satin and taffeta is gen- 
erally 36 inches. With the velvet we were cutting 
so close in the width that it was necessary to buy 
an extra l^ of a yard for the crown tip. In the 
case of satin or taffeta you would have left from 
the width of a yard of satin or taffeta, after cut- 
ting material for the brim, a strip 15 inches wide 
and one yard long. Thus it would not be neces- 
sary to buy the quarter of a yard extra for the 
crown tip. 

60 



Measuring the Side-crown 

Thus far we have not considered the side-crown 

measurement. You will 

notice from the dia- 
gram herewith that the 
side - crown measure- 
ment is taken on the 
slant. The reason for 
this is that separate 
side-crown material is 
used on the bias. If the 
measurement were tak- ' 

Measuring for the 

en perpendicularly thebms strip for the 

1 • i . ij . T_ side crown 

bias strip would not be 
wide enough, as you 
cannot purchase velvet 

through the bias, but must have the selvage meas- 
urement. The side-crown illustrated measures 
8 1/2 inches on the slant, and we will say the cir- 
cumference measurement at base of crown is 26 
inches. Therefore a strip 8I/2 inches wide and 26 






Three types of crown covering. (1) Material in one-piece 

steamed to the shape of crown. (2) Sections sewn together. 

(3) Side crown and tip covered separately 



61 



Modern Millinery 

inches long is needed. The length of bias strips is 
entirely governed by the width of the materials. 
By testing materials it has been proved that bias 
increases in length one-third of the width of 
materials. 

Thus the 22-inch material we selected in velvet 
would be the right width to produce a bias long 
enough to drape around the crown. The strip 
from the 22-inch material would be 29 1/3 inches 
long. As the crown was 26 inches in circum- 
ference, the allowance for drape and joining 
would be ample. 

As velvet is the only material one can buy bias, 
it is necessary, when the side crown is to be made 
in any other material, to buy a half yard extra 
on the length, so that you can make your own bias. 

For Different Types of Crowns 

In buying material for crowns where the entire 
crown is made in one piece, as, for example, in the 
new steamed crowns (see Figure 1), measure 
from front to back and side to side, starting at 
base of crown and measuring across the top to 
the base at the other side. Material for this type 
of hat should be bought on the straight. 

When the crown is to be made in sections set 
together with unfinished cords (see Figure 2), it 
is necessary to buy y« yard of velvet on bias for 
cord coverings. The small pieces for the sections 
of the crown may be safely cut from pieces com- 
ing off the sides in fitting. 

62 




Where one folded 
fiece is to cover 
wpper- and under- 
brim, measure- 
ment is taken 
in this way 



Another Type of Brim Covering 

There are a vast number of hats in v^hich the 
top brim and fac- 
ing are all made in 
one by using a bias 
strip, stretching it 
through the centre 
over the edge of 
the frame and 
pleating the full- 
ness in at the head- 
size. In this case 
the covering of the 
brim is, of course, 

bought on the bias, the measurement for mate- 
rials is taken as shown in illustration herewith. 

In this case the circumference of brim is to be 
considered, as it is best to buy material wide 
enough so the brim covering has but one joining. 
If material cannot be bought in the color and 
quality desired of a width great enough to make 
long bias strips, a piece of material twice the 
depth of the brim top and facing must be pur- 
chased, as a part of the second strip is for the 
brim. 

The method for measuring, where hats are made 
with flanges and sectional facings, is the same. 
Stated briefly, it is this: In calculating for 
straight material, see how many times the meas- 
urement you have taken from your hat goes into 
the width of your material. For bias, measure 



63 



Modern Millinery 

on a slant for the width of your strips, and also 
measure the circumference of the surface to be 
covered. In computing material needed, remem- 
ber that each width material will produce a strip 
one-third longer than its width. 



64 




Underside of the parfh/ completed brim. The magnified circle 
shows the cross-stitch by which the velvet is stitched to the 
cape-net. At the headsize, two of the slashed sections have 

yet to be cut off 

CHAPTER IX. 



PRINCIPLES AND METHODS OF FRAME 
COVERING 



I 



N making and covering a willow or cape-net 
frame the process should be as follows: 

1 — The top brim should be covered. 

2 — The crown should be made and sewed on. 

3 — The facing of the brim should be covered. 

I know that while some Fifth Avenue work- 



65 



Modern Millinery 

rooms follow this method in constructing a hat, 
others cover the top and facing of the brim first 
and then, the last thing, slip-stitch the crown on. 
Let us think for a moment which is the better way. 

Is it not the line of every hat we must protect 
throughout its construction? All modern hats are 
braced or wired as little as possible ; if the crown 
is made and sewed on to the brim after the top 
of the brim is covered, does it not protect the line 
of this hat as no other method of construction 
could possibly do? Then, too, one can study the 
effect of the finished hat far better if the crown 
be made and tie-tacked on before the under brim 
is covered. Do not our French designers daily 
teach us that crowns should be as carefully studied 
as the outline of the brim itself? Often these 
crowns are much larger in the headsize than the 
headsize of the brim. If the facing of the hat is 
already covered it is not possible to securely tack 
the crown to the brim. It could be done only by 
slipstitching the base of crown to the top-brim 
covering, which, if the material were pasted, as it 
often is, would not alone loosen the top covering 
of the brim; but the entire weight of the trim- 
ming of the hat, each time the hat was adjusted, 
would pull on this top-brim covering. 

Crown and brim should blend together to make 
a perfect creation. But one often sees a hat 
where the crown and brim seem like two distinct 
factors, looking very much like a house that has 
had an upper story added after its completion. In 
the first case, the crown is made and sewed on 

66 



Principles and Methods of Frame Covering 

before the brim facing is covered. In the latter 
case, the crown headsize, though perhaps larger 
than the brim headsize, is forced in small enough 
so that the crown may be sewed in the same place 
as the headsize of brim material was sewed, then 
a ribbon or a fold is usually used to fill in to cover 
up what in reality is botch work in putting the 
hat together. 

Agreed on this point, let us proceed to place, fit 
and pin our velvet to the top brim. 

Let us use mirrored velvet for this plain sailor 
hat. In considering the question of placing mate- 
rials on the frame we will use mirrored velvet be- 
cause it has an added feature to consider — that of 
the direction of the nap as well as the proper 
placing and fitting. Perhaps it would make it 
easier for those of you who have not had much 
trade experience, to think of the placing of mate- 
rials on frames as you think of laying commercial 
patterns on dress material. In other words, we 
are going to place the velvet on the frame with 
two points in view — first, to give the hat, when 
finished, the effect desired; second, to cut our 
material as economically as possible. 

There are just two groups of hats to consider 
in thinking of fitting materials. Sailors and 
slightly irregular shapes come under the first 
group. They can be fitted without any seam or 
joining in the top-brim covering and the facing 
as well. In other words, the fullness may be 
fitted out as one pins the velvet on. In the second 
group come all the irregular shapes, where it is 

67 



Modern Millinery 




While the velvet is yet ijinned to the edge of the brim, the 
pinned headsize is sewn, with the Joncf-and-short stitch. 



HeavLj line. Velvet 
Dotted line, Fram 



W( 



(Left) How the 
slashed headsize sec- 
tions are pinned to the 
frame, preparatory to 
sewing 



impossible to fit the fullness out. 
joining must be used. 



In this case a 



Covering Plain Sailors 



In the first group, covering plain sailors or 
slightly drooping shapes, what is the best way to 
place and pin velvet? 

The illustration shown is the brim of a droop- 
ing sailor hat. 

For all-sailor or slightly drooping hats, where 
the material may be fitted without a joining, the 
material should be placed with the straight of the 
velvet to the front, back and sides, with the nap 
running to the right as you hold the front of the 
hat towards you. I realize that many in the trade 
and elsewhere will take exception to this, and say 



68 



Covering Plain Sailors 

the bias of material should be placed to the front 
with the nap running to the back. In my first 
days of handling materials I also believed this to 
be true. I have since found it better to place the 
straight of material to the front when fitting any 
hat where one is trying to avoid a joining, because 
if the four main points of a hat are the front, hack 
and sides, and the straight of the material is 
pinned at these four points, at least they are fitted 
without accumulated fullness, as the straight can- 
not stretch. 

Before starting to fit the straight of velvet, be 
sure to remove the selvage. Then pass your hand 
over the velvet to see that the nap rubs smooth 
away from you or to the right. 

Place your velvet over the frame, allowing an 
inch margin on all four sides. Start to pin at 
front edge of brim, sticking the pins in straight. 
Do not darn pins in, as this will mar the velvet. 
Stretch the velvet securely straight across from 
front to back without pinning at the headsize. 
Pin in back, then proceed to pin the right side; 
stretch firmly across to left side and pin. With- 
out cutting headsize, pin and stretch from side 
fronts to side backs. At this point trim your vel- 
vet around the edge of brim, leaving a margin 
of one inch all around. Also cut an oval piece out 
of the centre of your velvet, which is fitted tight 
across the headsize. Slash down to the headsize 
wire and pin as shown in illustration. 

Then start to sew the brim covering at the head- 
size, as shown, using the long and short stitch, 

69 



Modern Millinery 

with long stitch on the material side, as shown in 
illustration. This pulls in the material and 
changes the circumference of the material, so you 
must again trim down the edge of brim, leaving 
%-inch margin all around. Cross-stitch edge of 
velvet to frame, using great care to make this 
finish flat and the stitches of equal depth so an 
even line may be used when sewing the facing 
covering on. You are now ready to attach the 
crown. 



70 




The crown tie-tacked in place, ready to be stitched on. To 
make the tie-tack, simply insert the needle through the edge of 
the crown material, then up through headsize edge of the brim 
material. Then remove the needle and tie in a knot. This is 
done front, back and sides, to hold the crown in place 



CHAPTER X. 
COVERING AND ATTACHING THE CROWN 

THE crown should now be made. I will use 
first the simple crown that has been, and is 
still, in vogue. In many of the modern hats the 
crowns are made soft, without foundation. If 
desired, a narrow cape-net piece is joined in a 
ring and wired on the lower edge. This piece 
ijs used to support the crown at the base. After 
the crown has been made of the material it is 
slipped over this narrow oval piece and cross- 
stitched to the lower edge. 

The first crown I will describe is made with a 
separate tip and side-crown. The question may 
be asked, how is one to know what shape to cut 

71 



Modern Millinery 

the material when no crown foundation is used? 
If the headsize of the brim is 24 inches, a good 
proportion for the crown headsize is 26 inches. 
Cut a strip of velvet on the bias the desired length. 
The width of the strip is determined by the effect 
desired for the side-crown — whether it is to be 
plain or draped. The tip of the crown is cut oval 
in shape using a circumference the same as side- 
crown. Sew tip to side-crown on wrong side. Be 
sure nap of crown-tip and the straight of the ma- 
terial are placed to run the same as top-brim cov- 
ering. If foundation is used under crown the 
lower edge of velvet may be turned up, flat hem- 
med. A wire may be run through the hem to sup- 
port the base of the crown and make it easier to 
sew crown on brim. 

The crown is now ready to attach to the brim. 
Mark the front, back and sides of the brim with 



While still tie-tacked on, the crorcn is firmly 
slip-stitched to the brim, after xchich the tie- 
tacks are removed. If thread to match is 
used, the slip-stitch 'will be almost invisible 
when pulled tif/ht. The circle inserted shows 
hoic the slip-stitch is taken 




72 



Covering and Attaching the Crown 

pins ; mark the crown in the same manner ; place 
the front of the crown opposite the pin marking 
front of brim ; pull well down on brim and tie-back 
in four places. (See illustration.) Tie-tacking is 
to millinery what basting is to dressmaking. 
Aside from its use in permanently tacking a drape 
it is used as basting, a preparatory stitch to hold 
material in place, until the final sewing is made. 
After tie-tacking crown in place, slip-stitch crown 
to brim. There is no stitch in millinery more 
often used than the slip-stitch. It is the shape of 
a Roman key and may be made any length desired 
so long as each stitch is directly opposite the last 
stitch taken. (See illustration.) 

Before putting the facing on this last hat I 
should like to show two other types of crown that 
might be used as to the placing of the materials 
and the way to complete the crown. 

One of the most valuable pieces of equipment 
I have ever seen to aid in making and blocking, 
crowns of all shapes where the crown is made of 
one solid piece of material is a copper net crown 
made in all the leading shapes. After pinning 
the material with the straight to the front, back 
and sides, the crown may be held over a steam 
kettle — either a kettle as used at home or the 
kettle that comes with the complete equipment. 
After letting the steam filter through the crown 
with the material pinned on, it is easy to stretch. 

After stretching all fullness out, unpin from 
crown block, trim for i/^ inch margin, wire a 
small cape-net piece two inches wide, and join 

n 



Modern Millinery 

in a ring of the same circumference as the crown 
is to be. Cross-stitch the velvet at the crown 
base over the cape-net ring, thus making the 
crown secure at base. 

This method of placing and steaming of mate- 
rial may be used for satins, taffetas, velours, or- 
gandies, Malines, nets and laces. This copper 
porous crown-block is superior to anything in the 
way of a block the trade has ever shown and is 
better in every way than a wire crown as made 
in workrooms, as the imprint of the wires is bound 
to show through if the damp material is stretched 
tight enough over the frame to stretch fullness 
out. 

In placing material for making crown in sec- 
tions, first determine the circumference of crown 
at base ; then decide how many sections are de- 
sired to make the effect the design calls for. If 
six sections are to be used divide your crown 
circumference into six equal parts, measure off 
on a crown block, which may always be found 
lying about, the number of inches one of your sec- 
tions calls for, take a corner of tarlatan, cut the 
shape of 1/6 of your crown foundation from this 
bias corner of tarlatan, remove this from the 
crown block and use for a pattern. Allow for 
seams when you lay the pattern on the velvet or 
satin. Cut six or eight sections, as desired. Seam 
these together on the wrong side, either using an 
unfinished cord, or, if preferred, join sections to- 
gether, without cords. Turn in crown material at 
base, tie-tack crown to brim, and slip-stitch on. 

74 



CHAPTER XI. 

FACING THE UNDERBRIM 

OUR hat is now ready for facing. Place vel- 
vet on the facing with the straight to the 
front, back and sides, with the nap running the 



Slip sfifch 
under wire. 



loose 

of wire 



end 




llf*^ 



long and 

'short stitch 




Here a section of facing is partially fitted on. The long and 
short stitch is being used at the headsize, and the wire finish is 
being sewn on the brim-edge, with a slip stitch. When pulled 
tight, this stitch is invisible. Of course, the thread should 
match the rnaterial 



75 



Modern Millinery 

same as the top. Pin front, back and sides, side 
fronts and side backs the same as the top brim 
covering. Do not pin headsize. Care also should 
be taken not to pull velvet so tight as to get the 
hat out of line. After carefully pinning edge as 
described cut out a small oval from headsize; 
slash down to headsize line and sew headsize with 
long and short stitch. (See illustration.) Trim 
velvet around the edge of brim, allowing a % inch 
margin. 

Finishing Edge With Wire 

As the wire finish is one of the best ways to 
finish a facing for a tailored hat, we will con- 
sider that method of finish. Turn edge of velvet 
over a piece of frame wire and pin both firmly 
in place at the edge of the brim. Then, using 
the slip-stitch, sew wire in facing, as shown in 
illustration. It is best not to join wire in ring 
when pinning. Leave wire open until the slip- 
stitching is nearly completed, then join wire with 
a clamp. Clamps are small fasteners that slip 
on the end of two unfinished pieces of wire, join- 
ing wires in a ring. They are used in millinery 
wherever two unfinished ends of wire must be 
joined in a ring. These clamps may be purchased 
at any millinery wholesale house. 

After completing the slip-stitching of wire in 
the facing, the hat is properly covered and ready 
to pass over to the trimmer. 

If pleated taffeta, unfinished cords or any kind 

76 



Finishing Edge With Wire 

of fancy material are used either to introduce 
color or soften the edge, these are usually basted 
to the facing of brim, before the facing is turned 
in on the wire. In this way, all kinds of original 
ideas may be introduced in the way of trimming 
on the edge of a hat; the facing is almost invar- 
iably brought up on a wire to finish the edge If 
a softer effect is desired on the edge of the hat, 
an unfinished cord may be basted on the facing. 
In this case the facing is not turned in on a wire 
but is turned in and slip-stitched without a wire. 

These two ways of finishing a facing cover all 
one need to know, as all other finishes are a var- 
iation of these finishes. The tulle edge sometimes 
used on the edge of hats does not come under the 
head of these finishes. Wide soft edges also come 
under a different group and will be described in 
another chapter. 

We have carefully considered the placing, fit- 
ting, pinning and sewing of hats where the mate- 
rial may be fitted on without a joining. 

The principle is this: 

For all flat or slightly irregular shapes do not 
work fullness around to one place, hut pin front, 
hack, sides and diagonals, keeping fullness con- 
fined in the section where it helongs. It is easier 
to avoid accumulation of fullness if headsize is 
not pinned, as the slight sinking in of velvet pulls 
the fullness in a place where it is hard to avoid 
slashing too low for headsize sewing. 

We have used a mirrored velvet for this ex- 
ample, because mirrored velvet deals with nap 

77 



Modern Millinery 

shading, light and dark. In using other materials 
such as plain velvet, velours, satins, taffetas, or- 
gandies, ginghams, Georgette crepes, etc., the 
question of placing, pinning and sewing would 
be the same except as to the preparation of the 
frame for covering. Any material where the 
frame does not show through should not be inter- 
lined. Satins and taffetas usually need some prep- 
aration for the frame before covering. Mull, tar- 
latan or China silk may be used to cover frame 
before putting outer covering on. 

For all kinds of hats where frames must first 
be prepared, the top of a brim should be prepared 
and then the outer material used. The crown 
should then be prepared and its outer covering put 
on. The crown should be sewed on before the fac- 
ing of the hat is prepared for outer covering. 
This method is far better than preparing or inter- 
lining the whole frame and then putting all the 
outer covering on, the advantage being, when 
preparing and finishing step by step, the last in- 
terlining covers all stitches and imperfections 
of all the preceding sewing. As this interlining 
serves two purposes — that of making a perfect 
surface to fit over and of covering all preceding 
stitches, it is clear this is the only method that 
is practical. 



78 



CHAPTER XII. 

FITTING VELVET HATS WITH A 
JOINING 

IN the previous lesson we have found how to 
place, hem and sew the material, be it velvet, 
duvetyn, satin or taffeta, on a hat where the ma- 
terial may be fitted without a joining. We found 
in this lesson that the principle of placing mate- 
rial on flat or slightly drooping hats was as fol- 
lows: Place the straight of the material to the 
front, back and sides, pin at these four main lines 
of frame, and keep the fullness of material con- 
fined in the section to which it belongs — in short, 
do not push fullness, as it will accumulate at one 
place on the brim, so that a joining must be made. 
This method of fitting and pinning will always 
apply to flat or slightly drooping hats where ma- 
terial may be placed on without a joining. 

Let us see what the difference is in placing and 
fitting material on a frame that is irregular in 
shape and in which the fullness of material cannot 
ibe worked out. As you look at the illustration 
shown you can readily see that it would be impos- 
sible to place a straight or bias piece of velvet 
on such an irregular shape without joining the 
material. Let us see how to place the material, 
as to the straight or bias, and where to make the 
joining. Here again I deal only with principles 
which will cover the fitting and covering of ir- 
regular shapes as long as hats are worn. 

79 



These two -^dqes pinned together 
until surplus velvet is cutawau. 
2h. ^ 




How to dispose of the fullness gathered at the joining and how 
to make the joining. The cut below shows the hat with the full- 
ness gathered at the back, where the join will be. When the 
stage of making the join is reached, pin velvet together at the 
point of joining. Cut through the fullness so that it mag be 
folded back in two halves against the hat leaving the inside of 
the pinned section exposed. (See sketch above.) Then cut away 
the surplus velvet Vs inch from the pinned folded line. Then 
turn both edges under at the line marked bg the pin, leaving a 
little of the frame e.vposed so the material will be stretched 
tightly at the joining and slipstitch together 




80 



Fitting Velvet Hats With a Joining 

We have learned that the top brim should be 
covered first; second, the crown made and sewed 
on; third, the brim facing should be covered. 

The Proper Direction for the Nap 

As the top brim is the first surface to cover let 
us see how velvet should be placed on this surface. 
I use mirrored velvet for this hat, as mirrored 
velvet has all the extra problem of nap, which 
makes it the hardest material to handle. The 
lesson on placing material on flat hats explained 
that the straight of the material was placed to 
the front and that the nap runs toward the out- 
side of brim rubbing smooth from one edge of 
brim to the other across the front. In other 
words, if the front of the hat was toward you the 
nap of properly placed material would rub smooth 
to the right straight across the entire front of 
hat, from left side to right side. In placing vel- 
vet on the shape shown, the true bias or corner 
of straight velvet should be placed to the front 
with the nap running diagonally toward the back. 
Run your hand diagonally over the mirrored vel- 
vet and see that it rubs smooth toward the back. 
It will be seen that the principles of pinning, cut- 
ting and fitting is just the reverse of the same 
work on plain hats, which do not require the ma- 
terial joined on the brim. 

First determine where joining is to be made. 
Joinings are always made where they show the 

81 



Modern Millinery 

least, or where trimming will best cover the join- 
ing. In this hat the trimming would not aid in 
concealing the joining. As the back is the nar- 
rowest place on the brim that is the place to join 
the material. Alwaj^s keep two things in mind 
when starting to fit material by the yard on any 
irregular shape: first, where the joining should 
be placed ; and second, how to place the material. 
Place the bias corner of velvet on the most dif- 
ficult part of brim to fit. In this hat, with the 
bias to the front, it is easy to shape the bias vel- 
vet out on both the wide sides shown. In some 
hats it is best to place the bias across the back, 
and in others to the side, varying according to 
where the extreme line of hat comes. Start to 
pin the velvet by sticking pins in as shown on 
illustration. Pin a short space on the edge, push 
the velvet down toward the headsize until you 
reach the line of the headsize. Then cut and slash 
the headsize as shown on illustration. Fit per- 
fectly, little by little, both the edge and headsize 
as you go, pushing all accumulated fullness toward 
the back. After starting at the front and fitting, 
cutting and pinning velvet on the left or right 
side of hat, start at front again and cut, fit and 
pin the other side, working all the fullness on the 
side to the back. You will now have quite a piece 
of velvet standing up at the back. (See illustra- 
tion). 

Before cutting this surplus fullness out for 
joining headsize with long and short stitch (as 
shown in the last chapter, in the illustration for 

82 



The Proper Direction For the Nap 




How the velvet is crons-stitchecl to the frame after being pasted 
ana trimmed doxvn 

making a plain hat) start sewing about two inches 
away from the joining, leaving room for arrang- 
ing the joining later. 

Gluing the Velvet 

After sewing headsize within two inches of the 
joining at the other side, removing pins from the 
edge of the velvet at the front of the hat, cover 
this section of the frame thoroughly with milli- 
ners' glue, lay the velvet back on the surface cov- 
ered with glue and press firmly to the frame. 
Continue to remove pins in sections around either 
to the right or left of the front, covering each suc- 
cessive section of the frame with glue and press- 
ing the velvet back on the frame. 

In pressing the velvet on the glued frame, use 
a piece of velvet instead of fingers, to avoid mak- 
ing finger-marks. 

After carefully pasting every part of the brim 
to within two inches of joining on each side, trim 

83 



Modern Millinery 



LONG-AND-SHORr 

STirCH AT 
HEAOSIZE 




NOTE THAT PIECE 
FOLDED UNDER 
AT JOINING, IS 

NOTCH ED, TO 
AVOID UNSIGHTLY 
LUMP, VHEN 
SENVED OVER 
EDGE OF FRAME 



Velvet fitted to the frame, ready for ffluing 

the surplus velvet along the edge of the hat, 
allowing one-half inch for cross stitching over 
the edge. 

Never cut velvet on edge of frame until after 
pasting. Many hats are ruined by cutting what 
seems like an ample margin, but after pasting, 
the material works down and leaves no material 
over the edge, thus spoiling the hat. 

After trimming down, cross-stitch velvet over 
the edge within two inches of joining on both 
sides. (See illustration.) 

Why Joining is Left to the Last 

The reason it is better to complete the pasting 
and even the cross-stitching of edge, before mak- 
ing the joining in the back, is that in pasting and 
sewing there is bound to be extra fullness worked 



84 



Why Joining Is Left to the Last 

out and if the joining is closed the last thing, all 
fullness can be pushed into the joining and thus 
a perfect fitting is made. 

Making the Joining 

To complete the joining at the back, first mark 
with a pin the exact line where the two edges of 
the velvet come together on the hat at the full- 
ness. Then cut the fullness through the centre, 
fold the two ends, thus made, back away from the 
pinned folded edges, then cut away all the velvet 
on both sides 1/2 inch away from the pinned edges. 
(See illustration.) This is the only safe way to 
cut for joining, as one can see just what seam 
allowance one is making. 

How TO Make Joining Tight and Invisible 

Next, turn both edges under at the line of the 
pin. In turning under these edges leave them far 
enough apart so you can just see the frame under- 
neath (meaning a space of about a sixteenth of 
an inch) . Then start at the headsize to slip-stitch 
the joining. As you catch first one side and then 
the other and pull thread tight, the slight space 
of 1/16 inch is filled. If properly slip-stitched, 
the joining will be invisible. 

Next, complete the sewing of the headsize at 
the point near the joining where it was left un- 
finished. 

The cross-stitching of the velvet at the edge of 

85 



Modern Millinery 

the frame where the joining occurs is still to be 
completed. Before doing this, cut away part of 
the folded-under portion, as the join will make 
an unsightly lump on your brim edge if sewed 
double-thickness. 

The top of the brim is now completed. Any 
crown may be used on this hat. The method of 
making and covering crowns was shown in a for- 
mer lesson. The crown of this hat should be 
placed so the joining of the side crown is in the 
extreme front, as the brim is so deep the joining 
of the crown would be hidden by the depth of the 
brim in front. After (not before) making the 
crown and sewing it to the brim, the facing should 
be covered. 



86 




The picture shows the facing pinned in place and partiaUif 

sewn: Of course, in practice this would be done with black 

thread, which would be invisible when pulled tight 



CHAPTER XIII. 

PUTTING ON THE FACING 

IN facing the brim the velvet must be placed 
exactly the same as it was when fitting the 
top. The nap on the facing should rub smooth 
from the headsize to edge, so that the blending of 
the nap will be perfect on the edge. Always pass 
the hand over the velvet after placing the bias 
for facing, to make sure the facing nap not only 
runs the right way, but runs diagonally to the 
right or left whichever way the top of the brim 
runs. In passing the hand over velvet it should 
rub smooth, one continuous line from the head- 
size facing diagonally across the brim-facing, over 
the edge of the hat to the back of the top brim- 
covering. 

87 



Modern Millinery 

The method of fitting, pinning and sewing the 
facing is exactly the same as the top covering, 
ivith one exception. The outside brim-covering 
will not need pasting except in a few places where 
the velvet will not cling to the frame. (Where 
the frame happens to be dented, for example.) 
Pasting makes a hat set-looking and should never 
be used unless the material between the head- 
size and edge wire after fitting will not stay flat 
to the frame. The fitting, slashing, pinning and 
sewing of all irregular shapes are done this same 
way. For all other velvets, except the mirrored 
or panne, there would be no nap to look out for. 

Facing With Satin or Taffeta 

If this same shape were made of satin or taf- 
feta it would be necessary to cover the frame with 
tarlatan before using satin or taffeta on the out- 
side. The tarlatan should be fitted on as carefully 
as the outer material. In preparing frame with 
tarlatan prepare top brim first. Fit, slash and 
pin tarlatan the same as outer material. Sew 
headsize the same. Instead of cross-stitching 
tarlatan over edge sew it with the long and short 
stitch, binding the tarlatan over the edge. Sew 
with the very short stitch on the right side or 
top, as the imprint of the long stitch, if this 
were on top, would show through the satin or 
taffeta. After preparing top of brim, cover with 
the velvet. Make the crown and sew it on the 
brim before you go on to the next stage — prepar- 

88 



Facing With Satin Or Taffeta 

ing brim facing with tarlatan. After sewing on 
the crown, cover the facing with tarlatan. Sew 
in the headsize first. Let unfinished edge of the 
tarlatan come up just over the cross-stitched 
velvet where the velvet was drawn over the edge 
to the facing. Run the tarlatan along the edge 
using an unfinished edge. Cut close to stitching. 
Use a short stitch on top, as before, running long 
stitch under between the velvet and the tarlatan. 
Fit outer facing of taff'eta or satin ; sew the head- 
size and finish edge with wired finish as shown on 
edge used for plain velvet hat. 

Where Georgette is Used 

This method of interlining and fitting material 
applies to all thin materials where the frame may 
show through. The type of hat shown on this 
page is not suitable for Georgette crepe. On a 
similar, hut smaller, shape, Georgette might be 
used. In that case the frame should be inter- 
lined with light-weight cotton crepe. This inter- 
lining would be handled just the same as tarla- 
tan. The only difference in making, would be the 
closing of the seam joinings. The cotton crepe 
should not he joined in the hack until the Geor- 
gette crepe is fitted over it. The two materials 
should be turned in together for slip-stitching in 
the back so as to avoid the margin of seam allow- 
ance showing through the thin Georgette. 

Instead of pasting the Georgette crepe or the 
cotton crepe lining, baste a line half way between 

89 



Modern Millinery 

the headsize and edge. Leave basting in until 
the crown is completed and sewed on. This holds 
the material in place securely. 

These materials mentioned cover all the dif- 
ferent problems one may run across in fitting 
fabric materials on the straight when a joining 
is used on the brim. All hats that are fitted from 
straight material (sailor or slightly drooping 
shapes such as mushroom) come under one of 
these heads. All irregular shapes come under 
the other head where brim joinings must be made. 
These two groups cover all the problems of fitting 
plain hats. 

Then there comes another group of small and 
medium sized hats where the material is put on 
by cutting a bias strip wide enough to cover top 
brim and facing all in one. 

You will note in a former lesson how to cal- 
culate for materials for this type of brim cover- 
ing. After determining width of the strip to be 
cut by measuring as the diagram in that lesson 
shows, measure circumference of brim edge. If 
possible, buy velvet wide enough so one strip will 
reach around the circumference of the hat. If 
velvet cannot be secured in the color or quality 
desired, wide enough so one strip will reach 
around the circumference, cut two strips; join 
one strip to the other as shown in the lesson on 
bias joinings. Cut enough off from one strip so 
the joinings will come at least eight inches apart, 
stretch through centre as shown in the illustra- 
tion, to find where the second joining should be 

90 



Where Georgette Is Used 

made. Place a pin where the bias strips meet, 
remove velvet from frame, join in a ring, slip 
back on frame, and pin material to top headsize 
on upper brim. If there is any fullness in head- 
size pleat in and sew flat, using long-and-short 
stitch in headsize. Make the crown and sew it on ; 
then pull the bias strip into headsize and finish 
with long-and-short stitch. 

This mode of brim is often used in covering 
small turned-up shapes where slight drape is de- 
sired. The strip is cut extra wide, allowing for 
fullness in depth on brim for draping. The bias 
joinings are made the same as for the plain brim 
just described. The top brim in this case is not 
sewed into the headsize until after the drape for 
the outer brim-covering is completed, so it is pos- 
sible to tack the drape through the frame. Folds 
are pinned in place and tacked with an invisible 
stitch into the velvet through the frame. After 
pleats are tacked, the outer-brim headsize mate- 
rial is left loose until the upper-brim headsize is 
sewed. The crown is then attached, and, last, 
the outer-brim headsize is sewed. This reversal 
of the order of developing the hat is done to make 
the construction of the hat possible. 



91 



Modern Millinery 



Selvage 
turned at 
right angles 
pre/paratory 
to cutting 
true bias 




CHAPTER XIV. 

THE PRINCIPLE AND APPLICATION OF 
THE FLANGE 

IN the previous lessons we have been learning 
to cover frames in a simple or plain way, re- 
viewing the principles of placing on frames mate- 
rials purchased by the yard. This included pin- 
ning, stretching, sewing and joining. 

It has been clear throughout these lessons that 
while we want to know how to do all the details 
of Millinery Work, we care for details only as we 
understand when to use them to make the effect 
we desire. In turning our attention to flanges, 
sectional facings, bindings, folds, and cords, let 
us think of these as decoration, although carried 

92 




The Principle and Application of the Flange 

out in the making or arrangement of the material 
on the brim or crown. 

The Principles of the Flange 
Let us look at a flange first and see how it 
beautifies a hat, what type of hat it can be used 
on ; how they are cut, made and mounted. 

Flanges are used on the 
crown to promote special 
crown effects. In the illus- 
tration above we see the 
flange appearing on the side 
crown, to break the height 
of crown and make it better ^, , ,, . , 

Flange used on the siae- 
looking by emphasizing the crown to break its height 

general style of the hat. 

We learn from these illustrations and from 
many others that could be presented, that they 
are really used as decoration in the making of a 
hat. The beauty of the hat is no longer left to 
the trimmer alone, but it is also in the hands of 
the maker, who has a chance to choose from all 
the various ways of making or constructing a hat, 
these fancy or complicated ways of carrying out 
her design. She chooses a flange, for instance, if 
she cares to introduce color into either a pressed 
or hand-made hat. She looks at the shape she is 
about to cover and decides whether the use of a 
flange in emphasizing or repeating the shape of 
her brim or crown will help in the effect of the 
finished design. If the material is hard or set- 
looking she introduces a flange to help redeem her 
material. Let us think of all these parts of hats 

93 



Modern Millinery 

coming under the head of flanges, sectional fac- 
ings, etc., as just one more opportunity to help 
make the hat more effective. 

Now that we have seen pictures of flanges 
showing their uses on brims and crowns, let us 
see how they are cut, stretched, joined and placed 
on the brim or crown. 

Making a True Bias 

First, the material is cut on the true bias. In 
the previous lessons we have had very little to do 
with true bias, as most of our work has either 
been fitting material by the yard or sewing straw. 
As all the parts of hats we are now about to study 
are cut from the true bias, let us first be sure we 
understand how to make a true bias from a 
straight piece, and how to test what seems like a 
true bias, that may in the cutting be off the true 
bias. 

You will notice on looking at the illustration 
(Fig. 3) that the corner of velvet is turned over 
until the selvages are at right angles. Cut off the 
corner along the folded line, and you have a true 
bias. 

After making bias from your straight material, 
the second point to know about this flange is how 
wide the finished flange should be. Two things 
influence your decision as to the width of finished 
flanges — the size of the hat and the style dictates 
of the season. 

Joining Two Bias Strips 
There are few rules in millinery, but this is an 

94 



Joining Two Bias Strips 




Tic fore cutting 
the bias strip, 
pin and 
stretch the 
material on 
the brim 
"where flange 
is to go. Cut 
Vo inch below 
the point 
marked with 
pin, to allow 
for turning in 



For a wide 
flange, as 
shown, a bias 
strip cannot 
be used, and 
a piece of 
straight 
material must 
be fitted on 
a,f shown. 
Seam allow- 
ance m^ust be 
slashed before 
being i(urned 
in 




95 



Modern Millinery 




Upper — The joininy of all bias strips must run parallel with 
the selvage, as shotvn. Remove selvage after joining 

ironclad rule which applies to every kind of ma- 
terial where bias strips are cut — the joining of 
all bias strips must run parallel with the selvage 
(see Cut.)- In cutting bias strips from straight 
velvet, one end of the strip runs the wrong way. 
Turn end back until it is at right angles with 
the edge of strip, and cut, using great care the 
line of your seam is good. (See Cut.). After 
cutting the two ends of the bias strips remove 
the selvage. The reason it is so important to re- 
move selvage is that the warp and woof threads 
are all bound together in the selvage, and as the 
object of cutting bias material is to stretch as 
much as possible, the removal of the selvage great- 
ly aids in the stretching. To join two bias strips 
together so they are the same width at joining as 
other parts of the flange, slip one strip down on 
the other the depth of seam as shown in illustra- 
tion and join by machine. 



96 



Measuring the Bias Strip 

After deciding a suitable width for the flange 
in its relation to the hat, the third point is to know 
how wide to cut material to allow for stretching 
and seam allowances, as all materials differ as to 
how much they stretch out. The only safe way to 
find how much to allow for stretching and turn- 
ing under is to take the true bias of velvet you 
have made on one end from the straight material 
and pin and stretch on the outer edge, pinning 
the upper edge and seam allowance beyond the 
edge where finished flange is to be mounted. (See 
Fig. 4.) Stretch for at least six inches to find 
how much the velvet is going to stretch. With 
outer edge pinned in place, measure through bias 
strip of velvet, allowing one-half inch for turn- 
ing lower edge in, beyond given measurement for 
finished flange. The width is now determined, al- 
lowing for stretching and seam allowance. Place 
pin in velvet to mark the place where it is to be 
cut. Remove velvet from the hat and by measur- 
ing accurately through bias, cut one strip of the 
desired width. Frequently one strip is not 
enough to reach around the circumference of the 
hat. In this case, measure carefully and cut a 
second strip exactly the same width as the first. 

Placing the Bias Strip 

The next point is to find where the second join- 
ing should go on the circumference of flange. Pin 
and stretch outer edge of velvet strip a seam al- 
lowance beyond finished edge of flange. Stretch 
even with edge of brim, starting to pin at ex- 

97 



Modern Millinery 

treme end of strip, as these strips are to be joined. 
After stretching securely on outside edge until 
one end of velvet strip reaches the other, place a 
pin in the direction the seam should run, and 
allow twice the amount of seam on one end. Place 
pin for cutting where velvet is to be cut, as event- 
ually even the seam allowance will be stretched 
when snapped back on, and the whole success of 
this flange depends on whether the second joining 
is right, as a flange too loose or too tight is im- 
possible to mount on the hat. Therefore, this 
marking for second joining is most important. 
Before removing pinned flange from hat, mark 
upper edge of flange with pin so that when plac- 
ing flange back after machine joining is made, 
the stretched edge goes to the top where it be- 
longs. Many flanges have been ruined by getting 
the stretched side in the wrong place. 

On all brim flanges similar to the one shown in 
the flrst illustration, where all parts of the brim 
show about equal, the joining made by stitching 
the two strips together should be placed an equal 
distance from the back. To do this, cross join- 
ings, place a pin in centre of longest strip, pin 
centre front of flange to front of hat, and centre- 
back of flange to centre-back of hat, and start to 
turn outer edge of flange over frame wire, pinning 
under wire to hold in place. Leave wire open at 
back until nearly sewed around, with long stitch 
next to wire. Use slip stitch, rolling wire back 
as you sew. When within two inches of back, 
join two ends of wire together with a clamp. 

98 



Placing the Bias Strip 

Finish flange, sewing across joining to finish 
thread. Pin wire in lower edge of flange, the 
same as upper, shp-stitch around, join wire and 
complete sewing. The flange is now completed. 



Treatment for Wide Flanges 

For all very wide flanges where a bias strip 
would not stretch enough on outer edge to remove 
all fullness on inside edge, a piece of straight 
material is fitted on surface where flange is de- 
sired. (See illustration.) After fitting, the ma- 
terial is cut the desired width of finished flange, 
plus seam allowance. It is very hard to turn seam 
allowance in on lower edge of a flange of this 
character. Slash seam allowance before trying 




A tlVo-incli jlumjt' iimde from u hi<ii< stril) 

99 



Modern Millinery 

to turn in over wire. These flanges are turned 
in on a wire and made the same as the flange just 
described. This method is sometimes used for 
flanges made of thin material where the bias join- 
ing of two strips would show through. On look- 
ing at illustration, you will note such a flange 
has no joinings. 

Georgette and Organdie Flanges 

This especially applies to Georgette crepe and 
organdies. Both of these materials should have 
an interlining fitted on the frame first and both 
interlining and outer-material turned in over the 
wire so that the material in handling the slashed 
seam allowance for wire on lower edge of flange 
will not show through. 

The choice, then, as to whether a flange be made 
of bias strips or fitted is determined by the width 
of flange desired, and also sometimes by the ma- 
terial of which the flange is to be made. A flange 
wider than two inches will not stretch out enough 
to take care of fullness on inside edge; therefore, 
such a flange must be fitted from straight mate- 
rial. For all thin materials, such as Georgette 
crepe, Canton crepe, organdies, etc., a flange 
should be fitted from the straight, regardless of 
the width, as the seam joinings showing through 
will spoil the effect of thin flanges which are used 
for decoration. 

These two ways of placing and cutting and 
handling will cover the making of flanges for 
all time. 



100 




No. 1 — Sectional facing 
used to transform black 
hat into a black-and- 
white. 



CHAPTER XV. 

FLANGES AND SECTIONAL FACINGS 

FIRST, what is a sectional facing? A sec- 
tional facing is a section of a facing, when 
straight material is perfectly fitted either on the 
top brim or underfacing, but does not extend out 
to the edge of the brim. In the illustration repro- 
duced at the top of this page, you will note 
the velvet flange on the outer edge of the brim 
facing. The remaining section of the under- 
brim is covered with white. This is a sectional 
facing. Note also that it is of a contrasting color 
combined with the flange. The object of this 
sectional facing is two-fold — first, after the flange 
was planned for the under-brim to introduce the 
black velvet, it is obvious that a sectional facing 
would be needed to complete the rest of the under- 
brim. Added to this, the designer wished to 

101 



Modern Millinery 




No. 2 — A flange and a sec- 
tional facing used to break 
the line of the brim and re- 
lieve the hardness of satin to 
the face. 



No. Sin a hat of this type 
the flanges should be either 
all fitted or all bias strips — 
never a combination of both. 



make this a black-and-white hat, so she made the 
sectional facing of white, thus bringing the hat 
into the latest color scheme of the season. 

Here we have the chief object of sectional fac- 
ings. By their use you can modify the color of 
a hat to suit the face. In the case of an orange 
hat, a sectional facing of brown might be used 
to the face, the unrelieved orange next to the 
face being too violent. 

Two Ways of Combining Flange and Facing 



The sectional facing and flange shown in this 
picture might be made in two ways. The edge 
of a sectional facing may run up under the flange 
and the inside edge of the flange be finished with 
a wire, or the inside edge of the flange may be 
run under the sectional facing and the wire be 
placed in the sectional facing. 



102 



Flanges and Sectional Facings 

How is one to know which method of construc- 
tion is best? The rule is this: Whichever one 
desires to emphasize should be finished on top of 
the other — i. e., in the first method the black is 
used to introduce into the under-brim the color 
or material of which the entire crown and top- 
brim are made. Therefore, in this case it is the 
flange that adds character to the facing. The 
flange in this case has more value in the general 
effect of the hat than the sectional facing, and 
that is the reason why the wire is placed in the 
inside edge of the flange. 

If this hat were made to order for a customer 
who was very fond of black-and-white and the 
use of white to the face was a risk in the point 
of whether it might be as becoming as an all- 
black hat, the whole becomingncss of the finished 
hat would depend upon which material were em- 
phasized! If the white or sectional facing were 
finished on top, with the wire thus emphasizing 
it, the hat would be ruined, while if the black 
flange were finished on both edges with the wire, 
it would relieve the white. The eye would rest 
on the black and thus redeem the finished effect 
and please the customer by giving her a modish 
black-and-white hat. On the other hand, if a 
customer had high color and the white facing 
would make the hat more interesting for her, the 
white should be emphasized by a wired edge. 

How Fashion Modifies Method 
Some seasons sectional facings are in vogue and 
flanges are not. If compelled to use a combina- 

103 



Modern Millinery 

tion of flange and sectional facing in such a sea- 
son the sectional facing should be outlined with 
the wire or emphasized because of its modishness, 
thus calHng little attention to the flange which 
had to be used to finish covering the brim and 
should be subdued as much as possible. 

The second illustration shows a white satin hat 
with flange and sectional facing having two-fold 
value. It is used first to break the line of the 
brim; second, to relieve the hardness of satin to 
the face. By breaking through the line a little 
of the hardness of satin is relieved. In the con- 
struction of this combination where the entire hat 
is made of the same material and neither the 
flange or sectional facing have any value as to 
introducing color, it is best to place the wire in 
the sectional facing, as the facing is fitted from 
the straight material and is easier to finish with 
the wire than the bias flange. 

In the third illustration a succession of flanges 
are used, instead of a combination of flange and 
sectional facing. This illustration is a striking 
one, showing the use of the flange on taffeta or 
satin to break the line of the brim and relieve the 
hardness in texture. In hats where the brim 
turns off the face as sharply as in this model, 
it is not only far more economical to use bias 
strips formed into flanges, but where a combina- 
tion of so many circular lines are emphasized by 
wires it is best to use all the material cut the same 
way. In other words, a combination of flanges 
and sectional facings in this case would mean, 

104 



How Fashion Modifies Method 

with the flanges cut on the bias and the sectional 
facing fitted from the straight, an unsightly com- 
bination of straight and bias material on a very 
conspicuous surface. 

If, in making a hat of this character, the bias 
strips cannot be stretched enough to relieve the 
flanges of fullness, then the same method should 
be used as mentioned in reference to flanges where 
the finished flange was too wide for bias strips to 
be used successfully and therefore had to be fitted 
from the straight. 

Two things would influence the decision as to 
whether, in a hat of this type, it would be better 
to use a succession of fitted flanges from the 
straight material, or a succession of bias strips. 
First, if the hat were more becoming to the cus- 
tomer with slight fullness in lower edge and the 
seams in bias joinings were not too conspicuous, 
then bias flanges should be used. Second, if the 
customer belonged to the type where any slight 
fullness would be unbecoming, flanges made from 
fitting on the straight should be used. But in any 
case, this rule must be observed: Either all the 
flanges should be cut on the bias, or all fitted from 
the straight. 

Illustrations two and three show important 
points as to the handling of materials as well as 
the varied uses of combined flanges and sectional 
facings. 

Special Principles for Straw Hats 
Flanges and sectional facings are so often used 
together that one seldom thinks, when making a 

105 



SOME TYPICAL COMBINATIONS OF 




In this hat the edge of the sectional facing runs up under the 

flange. The lower edge of the flange is finished with a wire, 

thus completing both flange and sectional facing. 




This e,r((ni})le shores the lower edge of the ffange running under 

the sectional facing. The wire is placed in the sectional facing 

{xchich is the reverse of the first illustration in which the 

flange is finished with the tmre over the facing.) 



106 



FLANGES AND SECTIONAL FACINGS 





This shows the first process in mounting a flange, where the 
entire brim is to be covered with a succession of flanges. 




This picture shows the proper finish of both upper and lower 
edges of material where a succession of flanges are used for 
brim covering, instead of a combination of flanges and 

sectional facings 



107 



Modern Millinery 

hand-make hat, of one without the other. On 
straw hats, however, they are often separated. 
A flange may be used to bring the color of the 
trimming which is used on the top of a straw hat 
down onto the facing; or a flange on a straw hat 
may, if made from a darker color than the hat or 
trimming, tone the hat down or add character to 
the design. 

Let it be clearly understood that flanges are as 
often used on the top-brim of straw or velvet hats 
as on the under-brim. 

The reason flanges and sectional facings can be 
used separately on a straw hat and are nearly 
always used together on a velvet or fabric hat 
is, that to complete either the top or facing of 
a hand-made fabric hat it is necessary to com- 
bine the two to completely cover the brim, while 
a straw hat is all completed insofar as the mak- 
ing of the hat is concerned, and the flange or sec- 
tional facing may he used to cover only a small 
portion of the brim, the hat itself completing the 
brim. 

When the Straw Color Clashes With 
THE Face 

A sectional facing is used on a straw hat, when 
the color of the straw itself is not becoming to 
the face, by fitting a sectional facing on the under- 
brim where it meets the hair It is possible by 
using the right color to make almost any straw 
becoming. 



108 



When the Straw Color Clashes With 
THE Face 

The choice then between flange and sectional 
facing (if both are not to be used) in a pressed 
or hand-made straw hat, is based on whether you 
want to decorate the hat near the edge or whether, 
by using a sectional facing next to the face, you 
wish to change the color scheme next to the face, 
or protect the hair from rough straw that pulls 
the hair and is not comfortable. I think I have 
made it clear that both flanges and sectional fac- 
ings play a very important part in millinery effect 
— and I emphasize the word ''efl'ect" because it is 
the thing that decides more of millinery methods 
than anything else. 



luy 




'^ <>. 1 — A wide bindinf/ h used here in- 
stead of a flange, because it is desired 
to keep the soft effect of the brim, 
which would be destroyed by wiring. 



CHAPTER XVI. 

WIDE AND NARROW BINDINGS 

WE have seen how useful flanges and sec- 
tional facings are on various types of hats, 
and how they are often grouped together. Let 
us turn our attention to wide and narrow bind- 
ings, and see what permanent part they play in 
the beautifying of hats, both fabric and straw. 

In comparing a flange and wide binding the first 
point of difference is that the wide binding binds 
over the edge of the hat ; whereas the flange stops 
at the edge. A binding may be wider on the top 
brim than on the facing, or vice versa, but one 
thing is always true of any binding — whether 
wide or narrow, it must bind the edge of the hat. 

Use a Binding for a Thin Edge 

In the first illustration shown, the use of the 
moire binding, which is of the same material as 

110 



Use a Binding for a Thin Edge 

the top brim and crown, is to bring the material 
used on the top brim and crown down on the 
facing. We also found that was what flanges 
were often used for — why a binding this time? 
When a brim is narrow, as in this illustration, 
a flange (which never extends over the edge, but 
rather runs about one-quarter inch from the edge, 
and is usually finished with a wire) makes a small 
hat too thick on the edge and cuts the brim up 
too much. When a thin edge is desired, a binding 
is far more effective than a flange. In this case 
had a flange been chosen instead of a binding, 
it would have been necessary to make two flanges 
— one on top and one on the underfacing. Both 
separate edges would have required a wire finish, 
making double wires coming near the edge. The 
binding, on the other hand, is stretched through 
the centre instead of on the edge, and when wir- 
ing is desired the lower edges are wired, thus 
keeping the wires away from the edge of the brim. 
In this case the binding is not even wired, the 
edges being turned in and slip-stitched. When 
one desires to use a strip of the same color or 
material on the top and bottom of a brim, a bind- 
ing should be used. 

How It Is Made 

It is clear on looking at this binding that it is 
first cut on the bias the same as the flange. The 
width to cut the material is ascertained as in the 
case of the flange — by stretching a true bias over 

111 



Modern Millinery 

the part where the binding is to be mounted. 
Stretch through centre, this time, for a space of 
about six inches, determine the width that looks 
best, measure this width, plus seam allowances; 
mark with pin the place of cutting, and remove 
from the hat. Cut two strips of equal width (see 
illustration in previous chapter for preparing and 
joining two bias strips together). Join with ma- 
chine. Start at one end of the strip to pin the 
binding on the edge of the hat, allowing equal 
amount of binding top and bottom. Stretch hard 
through centre so the edges will cling. Stretch 
until the two strips meet, put pin in to mark place 
for cutting, remove from the hat, cut and join in 
a ring by machine, restretch on the hat and finish 
edge by slip-stitching or by wiring. 



Slip-Stitched or Wired Edge 

If the edge is soft and needs supporting as well 
as binding, the wire finish serves two purposes — 
that of decorating the edge as well as supporting 
the shape by the concealed wires. If soft effect 
is desired, use the slip-stitch. A wide binding 
may be slip-stitched quickly by sticking the needle 
right through the hat, doing both edges as one 
goes. For the wired finish, do each edge sepa- 
rately. Pin and sew, as when wiring sectional 
facings. Do the most inconspicuous edge of bind- 
ing first, leaving the best work to be done after 
practicing on the least important. As on sec- 

112 



Slip-Stitched or Wired Edge 



tional facings, leave 
the wires open until 
sewing is nearly com- 
pleted, then join with 
clamps. The joining 
should be arranged to 
come at a point where ^^^^;. '^-t^ . ^*'"^^*"f f^'!^'* 'Z'''' 

^ entire brim and facing. Use- 

it can be concealed by ful where fullness from the 
trimminff inside edge is becoming. 




Some Illustrations 



The second illustration shows binding cut wide 
enough to cover both top brim and brim facing. 
This is one of the most useful ways of using wide 
bindings and may be applied to all kinds of shapes 
where fullness from inside edge of binding is 
becoming; the binding in this case is sewed with 

long -and - 
short 
stitch in 
the head- 
size, just 
as fitted 
material 
is sewed. 
In the 
third il- 
lustration 
the wide 
black 




Xo. 3 — This wide black satin bind- 
ing emphasizes the beautiful curve 
of the brim and it also reduces its 
apparent size. 



11.^ 




Modern Millinery 

satin binding makes 
an elegant slick finish 
to the large black 
satin or velvet hat. It 
also diminishes the 
apparent size of the 
brim and outlines the ^^ , , .... 

-» o. 4 — A narrow binding, 
beautiful line of the which serves chiefly as a hack- 
V^Yirfi ground for the embroidery on 

the facing. 

Narrow Bindings 

In the fourth illustration the narrow binding 
on the edge of the hat is used as a finish to make 
a background for the embroidery on the brim. 
It is clear that this narrow binding makes a 
prettier finish on the edge of brim, than let- 
ting the facing run up and finish with a wire. 
A wide binding would be out of place, as it would 
conflict with the embroidery below. Narrow bind- 
ings are frequently better suited in width for 
small hats. 

Other Uses for Bindings 

Narrow and wide bindings are sometimes used 
to finish the edge of straw or velvet hats that 
have been cut down to make the brim smaller. 
Again, narrow or wide bindings are used to in- 
troduce a striking color on the edge of the brim 
where the same color is desired on both top and 
facing of the brim. Sometimes a binding is used 

114 



Other Uses for Bindings 




The velvet for the narrow binding after being joined in a 
ring is pinned in place as shotim and back-stitched preparatory 
to binding over the edge of the brim. It should be kept in 
mind that the distance of the back-stitching from the brim 
edge regulates the ii>idth of the finished binding. 

the same color as the straw hat to keep the hat 
in self coloring and still soften the edge. 

How Narrow Binding Is Attached 

A narrow binding is cut and joined the same 
as wide binding. The point of difference is in 
the stretching and sewing. Narrow bindings are 
stretched on the edge instead of through the cen- 
tre, they! are back-stitched on the most conspicuous 
side of the binding, turned over and slip-stitched 
on the other side to finish the edge. 

The choice between wide and narrow bindings 
is often decided by which is most in vogue. Some 
seasons wide bindings are in favor and narrow 
ones not used; again for no seeming reason nar- 
row ones are chiefly used. The choice again be- 



115 



Modern Millinery 



The narrow binding 
partly turned over the 
edge of the brim. 
After the entire bind- 
ing has been thus 
folded over it is slip- 
stitched in place. 
When the brim is to 
turn down making 
the upper side the 
most conspicuous on 
the hat the back- 
stitch should be on 
that side and the final 
stitching on the con- 
cealed side. 




tween flanges, sectional facings, wide and narrow 
bindings, is all a matter of which will make a hat 
most effective and becoming, together with what 
Dame Fashion decrees. 



116 




Material for plain fold stretched on the outer edge of the hat 
to determine the place for the second joining. The thread on 
the velvet in the foreground marks the place where the material 

will be cut. 



CHAPTER XVII. 



PLAIN FOLDS 

IN previous lessons we have learned the differ- 
ence between flanges and bindings and the im- 
portant use they play in decorating modern hats. 

Milliners' folds are often confused with bind- 
ings. Let us make a clear distinction between 
folds and bindings before we see how they are 
made. 



117 



Modern Millinery 






- 1 



§ ^ 



«c «> ^ 









H»> 



-kii 



■4>^ 



5» i» I"* Of) 

^ a to 

si i3 od •<!* 
.§ ^ •'"^ 

^ o 

?. '^ s» 

<» '^ 
■« hi: 

e «s 5 

^ si -S 

r *w ^** 



'« 



Why the Fold is 
Chosen 

In the first illus- 
tration you will ob- 
serve a narrow piece 
of velvet extending 
around on the under- 
brim of a felt hat. At 
first glance one might 
call this a narrow 
binding. But the vel- 
vet reaches only to the 
edge and does not ex- 
tend over it, so it is 
not a narrow binding. 
Could we call it a 
Flange? No; flanges 
are never as narrow 
as the brim - edging 
shown in this picture. 
This is what is known 
by milliners as a plain 
fold. Its purpose here 
would be to repeat the 
color scheme of the 
trimming on the fac- 
ing of this plain hat. 
A flange would have 
ruined this lovely felt 
shape by covering too 
much of the under- 



118 



Why the Fold is Chosen 

brim and also in mounting and wiring the flange 
the effect of the otherwise soft hat would be 
ruined. Certainly a sectional facing would not be 
in keeping on a soft felt; first, because it would 
cover up too much of the beautiful ground-color of 
the hat ; second, because in mounting the sectional 
facing on, the soft effect of the felt would be sacri- 
ficed and the hat would be thick and cumbersome. 
Then, you may say, how about a narrow binding? 
A narrow binding might be used on a soft felt to 
advantage, but in many cases a narrow binding 
would detract from the beauty of the color scheme. 

Brim and Crown Must Never Compete 

This involves one of the aesthetic principles of 
millinery. If a hat is to be artistic either the 
crown is the interesting part or the brim. // both 
are of equal interest the design is never a success. 
I love to think of a hat as a brim with a crown 
lost sight of, made only to finish the hat the 
same as the lining; or, on the other hand, a hat 
where all the interesting line and color are made 
on the crown, the brim sinking into obscurity, 
just finishing the crown. Sometimes neither 
crown nor brim are of interest, a stunning bow 
making the effect of the hat. As one looks at a 
design of this kind the impulse is to exclaim, 
"What a stunning bow!" 

For illustration, the intention might be to make 
the crown of interest by means of embroidery. 
If even a narrow strip of the color used on the 

119 



Modern Millinery 




Whe7i the fold is readif to he attached it is stretched on the 

outer ed(je of the brim taking care that the point marked 

with the thread comes at the front of the hat. It is then 

attached to the hat by slip-stitching. 

facing were extended up on the top as a narrow 
binding would do, it certainly would detract from 
the crown, by emphasizing the top brim. 

Let us learn to feel these fine points when de- 
ciding between folds, bindings, flanges and sec- 
tional facings which are to be used in the high- 
est sense to beautify a design, not to over-do it. 

The second illustration shows a black velvet 
fold. This is used on a white facing to emphasize 
the black velvet which is used on the top brim 
and crown, and to connect the underbrim with 
the crown and top brim. Reversing the process, 
a fold may be used on the top brim of a hat when 
desiring to bring the color of a facing up on the 
top. Folds are distinctly decorative and, unlike 



120 



Brim and Crown Must Never Compete 

flanges, sectional facings and bindings, do not 
aid in the covering of any 'part of the brim of a 
hat. As they cover a very small surface the hat 
must be entirely finished before the fold is 
mounted on. 

Making and Mounting the Fold 

Folds are cut on the true bias the same as 
flanges and bindings, but unlike these the fold is 
made in the hand after being stretched and at 
last is slip-stitched on the hat. The illustration 
on this page shows the fold stretched on the outer 
edge, on the surface where finished fold will be 
mounted. After stretching for a space of about 
six inches to see how much the velvet is going to 
stretch out, allow twice the width of finished fold. 
For example, three-quarters of an inch is a good 
width for a plain fold. After stretching velvet 
(assuming that we have selected the width men- 
tioned), measure through the stretched piece, be- 
fore removing from the hat, II/2 inches (which is 
twice the width of finished fold) . Mark width with 
pin, and carefully mark with pin or thread the 
stretched side of the fold (as later it is impos- 
sible to tell which side was stretched, and if when 
the fold is finished the stretched side should be 
on the lower instead of the upper edge of the fold 
it would have fullness on the inside edge and thus 
be ruined). After marking for cutting and also 
marking the stretched side, remove from the hat 
and cut most accurately two strips, the width de- 
sired. Join strips together the same as bias strips 

121 



Modern Millinery 

are joined for flanges and bindings and restretch 
on hat the same as first strip was stretched, with 
nap side of velvet out, stretching outer edge. 
Stretch until velvet meets, place pin for place of 
cutting, remove from hat, cut for joining as de- 
scribed for flanges and sectional facings and join 
in a ring by machine. 

Introducing the Ball Stitch 
A new stitch is now used to finish these un- 
finished edges, known as the ball-stitch. Ball- 
stitching is to millinery what basting and over- 
casting are to dressmaking, the difference being 
that ball-stitching is not removed as bastings 
are in dressmaking, but is left as preparatory 
stitch to hold unfinished edges together, which 
are eventually slip-stitched to hat. Unfin- 
ished edges of the fold are ball-stitched together 
as shown in illustration. After ball-stitching, 
cross joinings, as shown in working drawing; 
take half of longest strip, place to front bringing 
joinings equal distance from back. (Note. — The 
joinings of folds the same as flanges and bindings 
on hats where trimmings are used on the edge of 
brim or falling from the crown so one, if not both, 
joinings are covered with the trimming, on irreg- 
ular shapes the joinings are placed where they 
show the least.) This rule of crossing joinings 
and placing half of longest strip to front applies 
to shapes where flanges, bindings and fold joining 
show equally at all points on the brim. (See page 
118.) 

Restretch the double ball-stitched fold on hat, 

122 



Introducing the Ball-Stitch 

with ball-stitching near the outer edge of the hat. 
Slip-stitch finished fold to the hat, slip-stitching 
back from the outer edge of the fold about an 
eighth of an inch. Do not slip-stitch inner edge of 
fold as the fold is double and by placing ball- 
stitching near the outer edge it cannot show from 
underside of fold. 

Folds are used on straw hats for the same pur- 
pose as on felt and velvet hats. 



123 




^lilliners fold partli/ attached. The needle is in place to 
continue the lonij-and-short utitch ichich secures it to the hat. 
This stitching is done well in.-^'ide the fold so as to be invisible. 



CHAPTER XVIII. 

MILLINER'S FOLDS 

JUST as we speak of flanges, sectional facings 
and wide and narrow bindings as one classifi- 
cation, so we must think of folds as coming under 
the head of plain and milliner's folds. The milli- 
ner's fold is sometimes called a French fold. 

Let us see how a milliner's fold is used and in 
what respect it differs from a plain fold. If you 
will look at the illustration shown you will see 
the milliner's fold mounted around the base of 



124 



Milliner's Folds 

crown. On observing the working illustration 
closely it is seen that a milliner's fold is a double 
fold looking like a plain fold with piping intro- 
duced in the edge. 

Purpose of Milliner's Fold 

The main use of a milliner's fold is to finish the 
base of the crown. This seems like a very insig- 
nificant use in comparison with the plain fold, 
bindings and flanges, but the milliner's fold plays 
a great part in millinery construction, aside from 
its use as decoration. In the lesson on the order 
in which a hat is constructed or built, the point 
was made that the crown should slip well down 
over the brim headsize and that the crown should 
be tacked on the hat before the under-brim was 
covered with outer material, thus making the 
crown and brim blend together. Everyone who is 
experienced in making hats knows that it is al- 
ways difficult to sew a crown on a white satin hat, 
for example, so that the imprint of the slip-stitch- 
ing does not show. When one considers that it 
is on this line of sewing that the entire weight of 
the hat comes when adjusting it, it is not to be 
wondered at that in sewing strong enough to hold 
the crown firm, the hat at this particular spot 
looks ''handled." It is at this point that the milli- 
ner's fold comes to our rescue. 

''Why not use a narrow ribbon around the crown 
and avoid the extra work of making this double 
fold?'' may be asked. The answer is that the rib- 

125 



Modern Millinery 





Above, sample of mUlitiers fold. Below, sample of plain fold. 

bon would divide the hat instead of uniting it. 
Many hats fail in just this place: a contrasting 
material such as ribbon combined with satin is 
used around the base of crown, making a con- 
spicuous line between crown and brim, instead 
of uniting the crown and brim in a harmonious 
manner as a fold of the same material would do. 

How It Differs From the Plain Fold 



The milliner's fold is the only one of the bias 
finishes mentioned that is not joined in a ring 
before mounting on the hat. It must be clear it 
would be impossible to mount a milliner's fold on 
a hat where the top of the crown happens to be 
larger in circumference than the base of the 
crown, if the milliner's fold were joined in a ring. 
The milliner's fold is never mounted on until after 
the crown is securely sewed to the brim, so the 
first point of difference between a plain fold and 
a milliner's fold is that the plain fold is joined in a 

126 



How It Differs From the Plain Fold 

ring and stitched back in place, while the milli- 
ner's fold is left open. 

How It Is Made 

Like other folds, bindings and flanges, the milli- 
ner's fold is cut on the bias. The velvet is also 
stretched on the surface where the milliner's fold 
is to be mounted. A short strip of velvet is 
stretched to find how much the material will 
stretch out. On looking carefully at the picture 
of the milliner's fold one will see that while it is 
doubled over to look like a double fold, the part 
that is doubled over comes about three-quarters 
of the width of the finished fold. 

We found that a plain fold should be cut twice 
the desired width and the milliner's fold is to be 
doubled over again to cover three-quarters of the 
width of the finished fold. Therefore, measure 
twice the desired width of the finished fold and to 
this add three-quarters the width of finished fold, 
which gives you the proper width to cut the milli- 
ner's fold. 

After cutting bias strip the width desired, ball- 
stitch the unfinished edges of the fold together 
as in the illustration on plain folds. After ball- 
stitching is completed, decide which side the trim- 
ming is going on the hat. Start to attach the milli- 
ner's fold at this point. Place fold with ball- 
stitching toward you, fold back lower edge of 
double fold, making the spacing as shown by il- 
lustration. Sew through the unfinished end of 

127 



Modern Millinery 

the fold after it has been doubled over so the 
fold is tacked securely to the crown as shown in 
illustration. Stretch double fold, holding fold in 
the hand and mount by taking long and short 
stitch through the hat between the space where 
fold is doubled together. (See illustration.) 

In the past it has been the practice to make the 
milliner's fold in the hand by slip-stitching the 
double fold together and then mounting it on the 
hat. When this method is used, the stitches made 
by slip-stitching the fold together will not stretch, 
thus the milliner's fold is apt to draw. Again, 
after all this slip-stitching is completed the milli- 
ner's fold is still to be mounted on the hat. By 
the time the second line of slip-stitching is made 
to attach the fold to the hat it is almost certain 
to be set-looking. As the object of this and all 
other folds is for decoration, the simpler method 
of handling is not only much quicker, but more 
effective. 

If trimming does not cover the unfinished join- 
ing made on the outside where unfinished ends of 
fold meet, take a small piece of fold and use it as 
a cross-knot to finish the end. 



128 




Above, sample of unfinished cord. Below, sample of finished 
cord. Note the tie wire wound around the cable cord in the 
lozver example. This gives the finished cord the required stiff- 
ness for ornamental purposes. 



CHAPTER XIX. 

FINISHED AND UNFINISHED CORDS 

ANOTHER group of interesting finishes on 
hats are finished and unfinished cords. An 
example of their use is found in the cord effect 
frequently set in between the sections of the 
crown. These are called ''unfinished" cords 
because the edges of the cord covering are left 
unfinished. These unfinished cords are used in 



129 



Modern Millinery 

all kinds of ways as insets. For example, in a 
recent French model made of flat blue straw, each 
row of straw was piped with an unfinished cord. 
This softened up the otherwise harsh braid and 
made the hat becoming. Unfinished cords are 
often set in between the tip and side crown, mak- 
ing an interesting finish outlining the crown tip. 
All kinds of shirrings are done on unfinished 
cords. 

Making Unfinished Cords 

First, cable cord is chosen the size desired. 
Cords are used in all sizes from very fine to coarse 
cord. 

For the unfinished cords, where one cord is to be 
used as an inset, bias strips are cut wide enough 
to enclose the cord and to leave a quarter-inch 
margin on both sides of the bias strip. This strip 
is placed over the cord, and with a long-and-short 
stitch the bias strip is sewed close to cord, leaving 
edges unfinished. (See working illustration.) 
This covered cord with the edges unfinished is 
frequently sewed on one section of a crown, and 
another section is sewed to the other side, thus 
producing a very smart finish, easy to make. 

On page 132, where a group of unfinished cords 
is inserted, a bias strip is cut wide enough 
so that all the cords can be put in the same strip. 
A quarter of an inch is allowed for the seam on 
each edge, exactly as when a single cord was cov- 

130 



Making Unfinished Cords 




The method of joining cords when a group is encased in one 
piece of covering material. The lower cord indicates the first 
process of splicing, which consists of removing the extra 
strands. In the second cord from, the bottom, the unfinished 
ends have been spliced together. The top cord shows the 
finished splice tightly wound with thread to reduce the size 
of the joining. Note that the joinings are made diagonally, 
so that all do not appear in the one spot as this might cause 
, disfigurement. 

ered. The first cord is laid in and the material 
sewed with a running stitch very close to cord. 
In the illustration shown, there is no space be- 
tween cords, therefore the second cord is laid just 
a running thread from the first and the same 
method followed in sewing close to the cord. The 
third cord is placed without spacing between. In 
mounting this cluster of cords, the bias strip con- 
taining the cords is stretched on a brim, to get 
cords in position for sewing. The unfinished edge 
of the strip containing the cords should be cross- 
stitched over the edge of the brim and the top 
facing brought up on a wire to finish. The lower 



131 



Modern Millinery 




The pnished (froup of cords. The xchite threads are merely 
inserted for the purpose of demonstration. The diagonal 
thread indicates where the cords are joined inside the casing, 
xvhile the vertical thread marks the place li^here the outside 
material is joined. 

edge might be slip-stitched on to the facing or the 
unfinished lower edge of cord be basted to frame 
and the facing turned in on a wire to finish. 

Making the Joining 
The matter of mounting bias corded strips on 
brims or crowns is very simple until the joining 
is reached, which, unless properly handled, is very 
diflftcult. Start by drawing up upper cord of the 
one nearest the outer edge. Unravel the ends and 
cut enough of the strands out to make cords when 
joined together the same size at joining as the 
original cord. Before starting to join cords cut 
off the pointed end of casing material so the cord 
covering will make a straight joining. (See illus- 
tration.) After joining first cord, turn one end 
of material back to make a finished end and lap 
it over the other unfinished end of material ; do 
not try to slip-stitch cord covering together at 

132 



Making the Joining 

joining, sew close to cord across place where join- 
ing has been made exactly the same way you have 
sewed through the entire process of covering cord. 
Try to join your cords in different places, as 
shown in working illustrations, so that no atten- 
tion is called to the joining. The cord covering can 
all be joined at one place if cord is joined at differ- 
ent places near the side back. These unfinished 
cords may be used at any place on either a straw 
or fabric hat. 

Making Finished Cords 

In finished cords the edges are turned in instead 
of being left unfinished. The material is cut on 
the bias the same as for unfinished cords. The 
material may be stitched on the machine as a cas- 
ing, and cord run through. By attaching cord to 
wrong side of material the casing can be pulled 
over the same as an umbrella case is slipped over 
the umbrella. Finished cords are used to make 
fancy corded ornaments. 

FINISHED CORDS 

In finished cords the edges of cord casing or 
covering are turned in, instead of being left with 
raw edges, as the sample of the unfinished cord 
shows. 

Before starting to cover the cord, fasten a piece 
of tie wire to the end of a length of cable cord and 
twist the tie wire around the cord as showm in 



133 



Modern Millinery 

illustration. This fine wire gives the cord just 
enough body so that it is not only easier to handle 
while making, but, after completion, the cord may 
be shaped in any desired effect for ornamental 
purposes without sewing too securely. An orna- 
mental finished cord made without this wire is 
bound to be set-looking, because it must be fairly 
nailed to a surface to be held in place. For cover- 
ing the cord a true bias of material is cut wide 
enough to double together in the centre and over- 
hand onto the cord as the illustration shows. 

A finished cord is sometimes used to brace a hat 
on the brim edge as well as to give the cord effect. 
In this case the cable ivire is used instead of the 
cable cord, thus bracing and cording the hat at the 
same time. The best example of this use of a 
finished cord may be seen on a floppy horse-hair 
hat where the beauty of the hat is its transpar- 
ency. 

The material for covering cable-wire is cut on 
the true bias, the same as for cable cord covering, 
the only point of difference being the joining of 
cords. When cable cord is used the cord is spliced, 
as shown in the illustration on cord joinings for 
unfinished cords. When cable wire is used the 
covering is removed from both ends of the cable 
wire and a clamp is slipped on to the end of each 
wire. The covering is then overhanded over the 
joining. 

Procedure for Fancy Finishes 
In showing how to cut, stretch, pin, prepare and 
mount flanges, sectional facings, bindings, folds 

134 



Procedure for Fancy Finishes 

and cords, plain ones have intentionally been se- 
lected as simple examples. All kinds of shirred, 
pleated, tucked, smocked and fancy ideas may be 
introduced in any of these. Whenever a fancy 
effect is desired, make one-fourth of the flange, 
binding, or mould, in the effect desired, and pin on 
the hat to develop effect as to fullness of shirring 
or pleating. Then divide the hat into four equal 
parts, plan one section with just the right amount 
of fullness, to achieve the special effect desired. 
Remove from the hat, allow three times as much 
more, join in a ring the same as plain binding, 
flange or fold, quarter the strip and quarter the 
surface it is to be mounted on. Keep fullness in 
the section where it belongs. Choose between the 
wire or slip-stitched finishes the one best adapted 
to finish your fancy fold or flange. 

The principles back of the cutting, stretching, 
joining and finishing of plain bindings, flanges, 
folds, etc., will cover the needs of making any 
kind of these fancy folds, bindings or flanges as 
long as hats are made of fabrics. 



135 



CHAPTER XX. 

STRAW SEWING 
PART I — HAND SEWED STRAW HATS 

SO often one hears the remark made by smartly 
gowned women, "I have almost decided never 
to order a hand-sewed straw hat again, they are 
often so heavy and thick-looking." 

Perhaps a story will be excused in a book 
on workroom millinery, as it expresses so well 
the point I want to make : A smartly gowned 
woman walked into a millinery shop on the Ave- 
nue, asked a salesperson to show her some hats, 
and, after a short time, found just what she 
wanted. On being told the price, however, she 
was horrified and called for the proprietor. The 
proprietor came and recognized the woman as 
being the wife of a New York surgeon. She be- 
gan at once to ask how he could charge such prices. 
''There isn't more than two yards of velvet on 
this hat," she said, *'and practically no trimming ! 
What can make it so expensive?" The proprietor 

turned to her and said: ''Mrs. W , do people 

pay your husband for the knife and catgut he 
uses when he operates, or do they pay him for 
the way he fixes them up?" 

136 



Is THE Hand-Made Hat Worth While? 

The hand-sewing of straw in the hands of un- 
skilled workers does make thick, unbecoming hats, 
but that is no argument against hand-sewed straw 
hats. Let us look at the value of making a hat, 
inch by inch, as compared with the practice of 
ordering from manufacturers' shapes. First, 
a pressed shape or blocked hat isn't made for 
anyone in particular. The headsize may not be 

right for Mrs. W , or the facing line may be 

too deep, or the crown slightly too high. If al- 
tered, the whole design of the hat is ruined. Then, 
it may not blend in coloring with her gown. 

On the other hand, suppose the designer from 
the house where Mrs. W buys her hats, sea- 
son after season, has been planning a smart hand- 
sewed straw hat for her. After attending all 
the Spring openings where French hats have been 
exhibited, she takes the sketches made from these 
hats, together with her notebook, and she first 

makes Mrs. W a headsize that will fit her 

(see chapter on ''Wire Frames for copying French 
Hats") . Then she starts to make a shape for her 
in wire, taking the back, perhaps, from an Eve- 
lyn Varon model, the side from a design made by 
the Modistes Mary & Annie, a crown perhaps 
from a Leontine model and last of all she gives 
that touch in line, dear to every real designer, 
which is called individuality, in an exclusive de- 
sign. 

You might search day after day among the 

137 



Modern Millinery 




Plateau of Yeclda straw. It is soft and flexible and is draped 
over a crown or fitted to a facing, just as you do with ordinary 
fabrics. The plateau is particularly useful for combining with 
satin, taffeta, etc. Plateaux are also made in Tagal, horsehair, 
Leghorn and peanit. 

pressed shapes hut you could not find such a shape 
because there isn't another like it and an exclu- 
sive shop would not make a reproduction because 
no two people look just alike. Therefore some- 
thing else would be better for Mrs. B. After this 
frame is completed is it likely that a designer of 
this calibre is going to risk its effectiveness by 



138 



Is THE Hand-Made Hat Worth While? 

failing to carry out the technique of the hat suc- 
cessfully? Let us consider the sewing of straw 
from this high standpoint, and keep away from 
the thick heavy hand-sewed straw hats that our 
smartly gowned women rightfully condemn. 

The French Method 

The French way of sewing straw, using frames 
only as patterns, is what rightfully claims our at- 
tention at this time. In the previous lessons we 
have seen how to make all kinds of wire frames, 
either to be used as skeleton frames to make tulle, 
lace or organdie hats on, or as blocks to stretch 
willow or cape-net, on which velvet, duvetyn, 
satin, taffeta or any other fabric material may be 
constructed. The chapter on wire frame-making 
in copying French hats brought all the previous 
lessons on frames to a climax, showing the com- 
mercial value of hand-made frames in copying 
French hats. At that time these frames were 
adapted to Fall hats, a different proposition from 
making hats of straw. How are we to choose 
from these frames the right ones to use for straw 
sewing? 

The tendency in straw, as in fabric hats, seems 
to be progressing toward softer lines, so the aim, 
insofar as possible, is not to use frames of any 
description. What use, then, has the wire frame 
in the field of hand-sewed straw hats? It is used, 
on the one hand, as a pattern on which to shape 
straws that have sizing or stiffness enough to 

139 



Modern Millinery 



Here are tifpen of the two classes 
of braid with which the milliner 
works. No. 1, at the right, is a 
sample of lisere braid. This, 
with Milan, hemp, Belgian split, 
etc., is really a combination of 
four braids sezcn together for 
convenience in handling. Nos. 2 
and 3 are two examples of the 
innumerable fan eg straws, which 
constitute the other class used in 
millinery. 




hold their line after being removed from the 
frame. On the other hand, the frame can be used 
as a block, as for fabric hats, for straws that need 
the support of a cape-net frame. 

Three Classes of Straw Braids 

Straws from the manufacturers' standpoint 
come under three groups. 

First, the Milan, hemp, lisere, Belgian split, 
etc., which are made up of narrow strands of 
straw. These braids, in their original narrow 
form, are impractical for hand-made hats, al- 
though the ''machine" shops use them for blocked 
hats. So the manufacturers of straw braids stitch 
four or five of these narrow strips together by 
machinery, making a strip of straw between 
three-quarters of an inch and one inch in width. 

The straws I have mentioned above are again 



140 



Three Classes of Straw Braids 

divided into two kinds — those which are lacquered 
or stiffened, and those which are not. The sizing 
or lacquer gives the braid a glossy finish and 
makes the straw more adaptable, in making hand- 
made hats where extreme line is desired. Under 
this group comes lisere, Belgian split, etc., while 
Milan and hemp represent the unstiffened braids. 

Second, come all the straws that are not made 
up of strands, as I have just described, but are 
woven the widths desired. These straws are made 
various widths, the average width being one inch. 
The manufacturer uses all kinds of original ideas 
in making these straws, by using combinations of 
wool, chenille, straw, wood pulp, cork, etc. Every 
known fabric material may be interwoven with 
straw to make this great variety of what is 
known as ''fancy" straw braids. Under this head 
come horse-hair braid by the yard, caterpillar, 
Angora, cellophane, Tagal, etc. This group of 
straws, like the other group, may be divided into 
two classes — those where dressing is used by the 
manufacturer and those prepared without dress- 
ing. 

Third come the straws prepared by the manu- 
facturer as plaques, or woven strips. Different 
sizes of Tagal, Leghorn, peanit straws, stitched 
plaques of hemp, horse-hair, Yedda, etc., or woven 
strips of straw wide enough for draping, made of 
Tagal, hemp, peanit, or stitched strips of hemp, 
horsehair or any fancy braids stitched or woven 
together, all come under this third group. 

So long as millinery is in existence, straws will 

141 



Modern Millinery 

come under one of these three heads, i. e., strands 
stitched together wide enough for practical use, 
woven straws made of all kinds of fancy materials, 
and plaques or wide strips made of straws, plain 
or fancy, by the manufacturer, where sewing row 
on row of straw would spoil the effect of a hat. 



142 



CHAPTER XXI. 

STRAW SEWING 
PART II — SEWING THE STRAND STRAWS 

I USE for the first illustration the lisere straw, 
showing the handling and sewing of this straw 
and the choice of a frame to construct it on. 

In the illustration shown the original hat was 
made of Milan straw. It could be copied in any- 
straw made up of strands stitched together, such 
as hemp or Belgian split. For the illustration 
shown we would first make a strong wire frame, 
studying every line of the frame from the picture 
(see lesson of wire frames made from pictures). 
This frame is to be used only as a pattern to shape 
the straw over. 

Handling Lisere and Similar Straws 

In preparing a frame for straw sewing, first 
sew a binding of crinoline to the edge-wire, mak- 
ing a base to which the first few strands can be 
sewn. The frame is now ready for use. 

For a hat of the size shown, three pieces (of 
ten yards each) of lisere straw would be needed. 
Open one piece of straw. First find right end of 
straw to start sewing (see page 146). Lisere 
is made up of four or five strands stitched to- 
gether. Start with the finished edge of the strands 

143 



Modern Millinery 




Front and rear ricxv of the hat xcliirh is drticribed 
in tJiis chapter. 

up toward the edge wire, which will bring un- 
finished edge of straw at lower edge, to be cov- 
ered up in lapping the next row. After deter- 
mining the end of straw to start sewing from, 
put about three yards of your straw in a basin of 
warm water to soften the strata so it will shape 
to your frame as you sew. Start to sew straw to 

144 



Handling Lisere and Similar Straws 




4I 



145 



Modern Millinery 






// you start, with the wrong end of the braid, it will mean 
sewing in an awkzcard and left-handed fashion all the way 
through. Cnless left-handed, it is better to sew toward you in 
all cases. The picture shows the end with which you should 
start sewing, held with the finished edge uppermost, just as 
it will go on the hat. 

edge wire at the point, if possible, where the trim- 
ming will cover it when finished. 

When starting, it is well to see that one strand 
of straw projects above the edge-wire, as the ten- 
dency is for the straw to slip down as succeeding 
rows are sewed to the first row, making the fin- 
ished hat too small. 

Buttonhole first row of straw securely to the 
crinoline fastened on the edge wire for that pur- 
pose, sewing from the right side to right side back, 
back and around to the front and right side again. 
Pull straw securely as you sew, with the thought 
in mind that anything shaped over the outside of 
a frame tends to be larger, unless, aside from the 
wire frame being made small to take care of that, 
each row of straw is close against the frame. 



146 



Handling Lisere and Similar Straws 




The first rozc of straw. In this case it has been started on the 
far side because this is the point that will be covered by trim- 
ming. The enlarged section shows the button-hole stitch with 
which the first row is fastened to the crinoline edge. This is 
the only row which is fastened to the frame, and this stitching 
is later ripped loose when the frame is removed. Care must 
be taken to get this first row absolutely straight and even, as 
the entire efi'ect of the hat depends on it. One strand of straw 
should project above the edge-xoire because of the tendency to 
pull down as you sew. 

On reaching the right side where straw was 
started, overlap the second row of straw squarely 
over the first, for a space of one inch before you 
begin to drop it to the level of the second row. 
Sew both securely together with the same 
thread you have used to buttonhole the black 
straw on the edge. This thread eventually acts 
merely as a basting thread and can be removed 
much easier if made with light thread on dark 
straw, or vice versa. 

Thread a medium milliners' needle with 00 
milliners' cotton in black, and start sewing the 
second row of straw to the first row by gradually 



147 



Modern Millinery 




starting the second row. Before being f/radunllg dropped to 
the second row the braid is overlapped on the first row for the 
space of two inches (see the two white (trrows above). The 
braid is now sewn with the permanent {iong and short) stitch, 
as shown in the magnified section. This, of course, is done with 
thread to match the straw. Contrasting thread is used here for 
purposes of illustration only. When the braid is dropped to the 
second row take care that the space between the rows is the 
same as the braid manufacturer has arranged between the 

single strands. 



running the second row of straw down onto the 
first row. This graduation of running the braid 
down to start a second roiv should cover a space 
of at least four inches, so that the change from 
first to second row is not pronounced, as the entire 
edge-line of the finished shape is dependent on 
how evenly this first row of straw is sewed and 
kept secure on the edge-wire. The greatest care 
should be shown at this point, especially where 
second row runs over on the first, to see that the 
line of the edge is perfect. 



"■*^ 



148 



The Permanent Sewing 

When starting to sew the second row to the 
first, which is the beginning of the permanent 
sewing, cease to buttonhole, and use a stab stitch 
or stitch through the straw back and forth, using 
first few rows of straw. The entire shape of hat 
is dependent on the security of line made by first 
shaping the damp straw exactly like the frame 
and second by securely sewing. After gradually 
running the second row of straw down on to first 
row until the permanent spacing is reached, de- 
termine spacing of your hand sewing by the spac- 
ing the manufacturer has used in the machine 
sewing of the original strands, so when com- 
pleted it will have all the appearance of being 
hand-sewed (see illustration) . 

The principle of shaping and sewing straw sa 
that the finished hat will not hoop in some places 
and bulge in others is this: Hold the piece of 
straw which you are sewing firmly, and pull the 
thread evenly. Do not pull it tight and then sud- 
denly let it out, as this always makes an uneven 
place. 

Now let us again look at the illustration. For 
this particular hat, sew the first five or six rows, 
holding each row firm to the last one sewed, be- 
cause the brim keeps about the same size for 
several rows around. You will notice from both 
the front and back views that there is a decided 
ridge in the shape after about five rows are sewed. 
This ridge is best seen in the back and continues 

149 



Modern Millinery 

around the front. The line which appears from 
the front view as the edge of the brim is the be- 
ginning of the roll, as the edge is back out of 
sight, and is smaller than the roll, which is the 
largest circumference of the brim. There now 
comes the necessity for shaping the straw as you 
sew. This is done by a principle that can only 
be described as ''pushing" and ''pulling." In 
other words, when you wish to increase the cir- 
cumference of the shape you are sewing, you push 
the braid back slightly as you sew it; and in the 
same way the braid is pulled almost impercep- 
tibly as you sew when you want to reduce the cir- 
cumference. While this must not be done so vio- 
lently as to make a pucker in any one spot, the 
general effect becomes very apparent after one 
circumference is sewed. After sewing around five 
or six times as the wire frame guides, start to 
slightly "push" the straw you are sewing. Con- 
tinue to "push" as many rows as are necessary 
to make extra circumference for the roll. Be sure 
to sew one whole row larger than the wire frame 
calls for in shape, as when you start to pull the 
straw in slightly to make the downward turn in 
the roll, the last row of straw that was pulled for 
the outer edge of the roll will turn down, thus 
taking off one row you have planned for the edge. 
After reaching the downward turn in the roll, 
"pull" enough to keep the damp straw firm 
against the frame. Keep looking from the under- 
side of the frame, to see that each row is just 
right. Continue to hold the straw firm, shaping 



150 



The Permanent Sewing 

it as you go until you reach the smallest circum- 
ference, which is shown by the illustration to be 
about three-quarters of the way down on the 
depth of the brim. Start to sew the straw more 
loosely for three or four rows, then gradually 
increase by '"pushing" straw until you have made 
the exact size of roll which makes the facing line. 
Hold the straw firm again, shaping the facing 
line in. 

Take great care, in shaping the straw for fac- 
ing, that it is not pulled too much, thus making 
the hat too small in the headsize. After sewing 
at least four rows up inside above the facing line 
the brim is completed so far as straw sewing is 
concerned. 

Removing Frame and Pressing 

For a shape of this design, which has decided 
lines, I should advise lacquering the straw all 
over with a brush before removing from the wire 
frame. After lacquering wait until entirely dry 
before removing the buttonhole stitching at edge 
wire — which should he the only sewing that holds 
straw to the frame. If by accident some stitches 
have been caught around wire, clip and restitch 
before removing. 

After slipping straw shape from the wire frame 
the next point is to carefully press the straw 
shape. On this shape the pressing would have 
to be done from the right side. Rolls of cloth 
should be slipped inside to make pads and protect 

151 



Modern Millinery 

the shape. A damp cloth should be placed on the 
part to be pressed and a small electric iron used. 
Fine makers and copyists sew the straw so per- 
fectly that the pressing is reduced to a minimum, 
as one can readily see how easy it would be to 
lose the line of a hat in pressing. 

After pressing on the outside the lacquer will 
be dulled, and this can be touched up after the 
headsize edge of frame is wired. 

I should advise the temporary wiring of all 
headsizes for hats made by this method, the wire 
being placed next to the head and removed after 
the crown is made and tacked on, which supports 
the brim. After wiring the headsize the top in- 
side edge of brim should be securely wired with 
frame wire, then buttonholed back about one- 
quarter of an inch from inside edge of brim. 
After joining wire securely in back finish inside 
of brim with one or two rows of straw, cutting 
both rows of straw at the back and dovetailing 
the ends together by ripping the five strands of 
each end about one inch from the end and inter- 
lacing together. 

After lacquering spots made dull by pressing, 
hold the entire shape over the steam, letting the 
steam filter through from the wrong side to soften 
the frame so it will not be stiff and set looking. 
If the lacquer seems to give the hat too heavy a 
gloss, sponge entire hat with alcohol when brim 
and crown are completed. This will dull the lac- 
quer. 

152 




The plaque of straw braid is capped as shown above by pulling 
slightly on the straw while it is being sewed. It should be 
mentioned that the pull on the straw is slightly exaggerated in 
the picture to emphasize the process. 



CHAPTER XXII. 



STRAW SEWING 
PART III — SEWING THE STRAW CROWN 

FOR making the crown, a wire crown should 
be made, if a manufactured one cannot be 
secured, as a pattern or block to shape the straw 
over. 

Designers in various workrooms seem to differ 

153 



Modern Millinery 

as to the best place to start sewing straw for 
a crown. Some workers start at the base of 
the crown and work the straw toward the top ; 
others start at the center of the top-crown and 
sew from the center out. There is one great 
disadvantage in the method of starting at the 
base of the crown to build. Suppose a crown is 
higher on one side than the other — as they very 
often are — and the straw sewing is started at the 
base of crown and continued row on row. It is 
evident that the centre of crown must soon be 
thrown out of line at one side. This makes the 
base of the crown perfect in technique, although 
the base is nearly always hidden either by the 
brim of the hat or the trimming, whereas the part 
of the crown which is seldom, if ever, covered 
must show up the uneven sewing. 

Look at the other method of construction and 
see its advantages. I will use for illustration the 
crown on the hat we are making of lisere straw. 
First visualize the shape of the crown tip, down 
to where it starts to turn down. After looking 
at it carefully measure the crown tip from front 
to back and side to side, to find its proportion. 
Dampen with warm water a couple of yards of 
your straw. 

Shaping the Crown Tip 

It is imposisble to sew an oval "button" by us- 
ing the full width of straw, so rip one strand of 
straw loose from the upper edge of the full width 
and start to sew with this one strand, shaping it 

154 



Shaping the Crown Tip 




This shows the plaque of strand straw for the crown tip. It 
is started with one strand which is sewed in the shape either 
oval or around which the finished crown is to be. After sew- 
ing a few times around, a second strand is added and the 
third and fourth strands follow as soon as the sewer finds they 
will fit into the plaque. The xchite crosses in the cut above show 
where the three succeeding strands were inserted. At about 
this round, while still fat. the plaque should be pressed on the 
wrong side under a damp cloth. 

the exact shape of the finished crown tip. Con- 
tinue to sew around about a half dozen times 
with one strand, then try sewing with two strands 
and see if you can, by pushing the straw, sew 
around the oval surface without the little oval 
plaque you have made capping or turning up. 

If it is time to use the two strands the oval 
will stay flat, but if j^ou find two rows make the 



155 



Modern Millinery 

small oval plaque curl up on the edge, continue 
to sew with the one strand for a few more rows 
until two rows can be successfully handled around 
the curved surface. After sewing several times 
around with the two strands, try by letting in 
three and later four, and finally the full width 
of straw. 

Here is a point that should be noted: Each 
time you add an extra strand to the plaque you 
are working on, it should be started as you are 
going around one of the ends of the oval, as this 
tends to keep it the right shape. If the two 
strands are let in at the oval in the front, the 
three strands should be let in at the back or op- 
posite end of oval, the fourth and fifth strands 
should be let in in the same manner, alternately. 

Fitting Crown to Frame 

It is understood that at this stage the straw 
is not attached to the wire frame at all, but is 
sewed in the hand, though every now and then 
it should be tried on the wire shape to see if it 
is being sewed in the right shape. The crown 
shown in the picture is not perfectly flat. It 
curves down; therefore the straw should be held 
firm, after the full width of straw is let in, to 
shape the straw as the crown indicates. When 
your straw is nearly the right size for the tip, 
place a damp cloth over the plaque and press with 
a hot iron. Shape your plaque as you press, the 
exact shape of the finished tip. Try it again on 
crown block and if it fits, then sew one whole 
row of straw larger than crown tip indicates, 

156 



Fitting Crown to Frame 




•«»*ltM«W*^;«MWiW*^ 



differ th(' oval cnncn tip luis been cupped — that Is, turned 
doxtm — for one <ntire circumference, fit the plaque to i/our wire 
crown block as shown. If it does not fit accurately at this stage 
it will be necessary to rip the stitches back for a few rows and 
sew it over again. After the straw shape is sewed half-wuy 
down the side-crown start to push the straw slif/htli/ as you 
sew it to enlarge the circumference. 

because when you start to pull the row of straw 
for capping, the last row, sewed straight around, 
will be turned down. The only way to have a 
crown-tip the right size is to make it one row 
larger than desired before starting to cap. After 
capping, by pulling slightly the piece of straw you 
are sewing, continue to sew without pulling or 
pushing the straw until half the side crown is 
completed. Start to push the straw slightly for 
the remainder of the side-crown, as this will in- 
crease the crown evenly and make a large enough 
circumference for the crown base. Keep slipping 
straw crown over wire block and, if at any place 
the straw seems to hoop or have too much full- 

157 



Modern Millinery 

ness, rip and resew. If it is wrong at this time, 
no amount of pressing will make the crown the 
right shape. 

When by measurements and trying your straw 
on block you find it is the right size, gradually 
run your straw under the last row, to finish crown 
at base, the way you ran the second row of straw 
down on the first row in making the brim. This 
time the graduation in running the straw off, is 
done underneath, while on the brim the straw 
was graduated down on the right side. 

Completing the Hat 

Your crown is now ready to press. Take great 
care in pressing, not to get crown out of shape. 
After pressing thoroughly, slip the crown back 
on the wire shape and lacquer the surface as was 
done with the brim. After drying, remove the 
straw crown, and, tying the back to the brim to 
hold it in place, slip-stitch crown to brim. Your 
straw hat is now completed, and if care has been 
taken in making the frame and shaping each 
row of straw as explained, you should have a 
perfect copy of the design desired. 

Can you not see that this method of construct- 
ing a crown is far better than starting at the 
base to build? In croivns that are higher on one 
side than the other, extra strips of straw may be 
inserted at the base of the croivn and graduated 
at both sides so the ivorkmanship is perfect. Is 
it not better, if there are to be any extra pieces 
inserted, to have them set in at the base of the 
crown after the main line of crown has been 

made? 

158 



An example of fancy straw parflalJif shaped to the crown 
block. The cape-net block is used for this type of straw as the 
soft braid would sag between the wires of a regular frame. 
However, this block is removed after the crown is shaped as in 
making the sti/fer straw crowns. In starting the crown, the 
tip must be shaped in accordance with the finished hat, but the 
braid is folded in half for the first few circumferences instead 
of being ripped back as was done with the strand straws. This 
type of braid is never dampened before sewing. 



CHAPTER XXIII. 
STRAW SEWING 

PART IV — PRINCIPLES APPLIED TO OTHER STRAWS 

IN choosing straw model in the previous chapter 
we decided on lisere. How would the making 
differ had we chosen Milan? Milan straw would 
be just as suitable for this design, as Milan straw 
is also firm enough to retain the shape without a 
frame underneath. Hemp braid would be equally 

159 



Modern Millinery 

suitable, but hemp would not have enough body to 
preserve the line of the brim without some kind of 
light frame underneath. In this case, instead of 
using wire frame to shape the straw over, one 
thickness of cape net should be stretched over the 
wire frame as described in the lesson on blocking 
cape net. This light-weight cape-net frame should 
be removed from the wire frame and wired as 
described in the lesson on preparing frames. The 
top or inside of this frame should be lined or 
covered with satin or taffeta, whichever the cus- 
tomer desires. The frame is now faced on the 
top. The taffeta or satin should be cross-stitched 
over on the top of the brim, so that it not only 
binds the frame with material, but provides some- 
thing on which to sew the first row of straw. Do 
not dampen hemp straw. Sew the hemp exactly 
the same as the lisere was sewed except that you 
catch the first row of hemp to the silk, extending 
the braid one strand above the top edge of the 
brim the same as one strand of lisere was extended 
beyond the edge of wire frame. Continue to sew 
all succeeding rows to the first row of straw, not 
through the cape-net frame. 

The hemp crown should be made exactly as the 
lisere or Milan crown. It is not necessary to use 
the cape-net foundation under the crown. Use 
French lining in the hat to support the crown. 

This method of sewing the straws which the 
manufacturers have prepared by stitching strands 
together, such as lisere, Belgian split, Milan, hemp 
and any other straws made up of strands will 

160 



Principles Applied to Other Straws 

always be the same as long as hand-made straw 
hats are in existence. The question as to the 
frames underneath may differ from time to time, 
but it is safe to say that the day of straw or fab- 
ric hats made on a stiff frame is past. Each year 
the hats grow softer and softer, requiring a higher 
type of workmanship. 

How THE Second Group of Braids Is Handled 

How shall we handle the woven straws that are 
not made up of strands stitched together but come 
in various widths, where there is no opportunity 
of ripping the strands to start the crown tip or 
of ripping the strands for dove-tailing where a 
couple of rows are used to finish top of brim or 
facing? Under this heading comes horse-hair 
braid and all the fancy straws made of all kinds 
of material, such as Angora straw, cellophane, felt 
and straw woven into a fancy straw, chenille and 
straw combined, wool and cellophane combined, 
and in fact any straw that comes woven in pieces 
an inch or more in width. 

In the choice of these woven straws, what hats 
are they best suited for? Let us take the Angora 
and sports straws that are made of felt and straw 
combinations. It is easy to see these straws are 
best suited for soft small hats which may be used 
for tennis, golf, motoring, etc. Every smartly 
gowned woman needs one of these hats to com- 
plete her wardrobe. 

The first question that arises is about the 

161 



Modern Millinery 

frames for these models. The Angora, felt and 
cellophane straw combinations are secure enough 
in themselves, so no permanent frame is required 
underneath. A wire frame should be made as a 
pattern or block, however, and the straw is shaped 
over the frame. In sewing the brim of woven- 
straw, the method is exactly the same as with 
the strand-straw, except these straws have one 
advantage — m the lower edge of nearly all woven 
straws there is a thread run through that may be 
pulled up to take the fullness out of the lower 
edge of straw, so one is not entirely dependent 
for shaping on pulling each row of straw as it is 
sewn. This thread may be pulled after each row 
is sewed, just before the next row is sewed on. 
This, together with the fact that no straw of the 
nature mentioned can be dampened, offer the only 
points of difference in brim sewing, from the 
strand-made straws. 

When it comes to the crown, the only difference 
is in starting the crown tip. The straw cannot 
be ripped to a single strand to start the tip. It 
is therefore necessary to fold the straw together, 
making it half the width at the place of starting. 
While all woven-straws have this handicap, they 
also have the same advantage for making the 
crown as mentioned in connection with the brim 
— the thread in the lower edge of straw may be 
pulled up to make it circular in shape, which takes 
care of the fullness. After folding straw together 
on the width to make it narrow enough to shape 
the tip, start sewing the tip. Pull the thread up 

162 



How THE Second Group of Braids is Handled 

in the lower edge of the straw, winding the end 
securely around the unfinished end of the straw 
so it will be available constantly for pulling up 
the straw all through the making of the crown. 
Make the small centre or button the same shape 
as the finished crown is to be (round or oval). 
Continue to sew row after row, shaping and pull- 
ing the thread as you go. This sewing should be 
done in the hand, using wire crown only as a pat- 
tern. 

The crown is now ready to attach to the brim. 
If the shape seems very soft after mounting the 
crown, brace-wires may be used inside of the 
brim, as described in the lesson on blocking and 
wiring the cape-net frame. 

In this field of fancy straws there are a great 
many soft, silky straws that are very thin. These 
are often used for facing taffeta or organdie hats. 
Where a cape-net frame is used for fitting the taf- 




Finished hat made of fanct/ straw showing cape-net blocks 

over which crown and brim were shaped dmring 

the hand-sewinf/. 

163 



Modern Millinery 

feta, a crown is sometimes made of these straws. 
The same method is used in sewing the straw as 
with the Angora or sports straws just described. 
If the crown-tip is found too difficult to handle, 
the tip may be made of whatever fabric material 
is desired and the side crown sewed of the straw. 

Handling the Wide, Heavy Straw 

Among these fancy straws there are some very 
rough straws in which the manufacturer uses a 
great deal of dressing. These straws are always 
dampened with warm water to make them pliable 
for sewing. The sewing of these straws is the 
same as for all others mentioned, except that in 
making the brim each row of straw is made sep- 
arately, being cut off at the back, and the ends 
joined together by overlapping, and slip-stitching 
together. 

Sew Each Row Separately 

For all wide straw it is better to cut off each 
row of straw, and either slip-stitch the ends to- 
gether, or, if made of strands, dovetail the strands 
together. 

In making crowns of heavily lacquered straws 
that are coarse in weave, it is impossible to mould 
them into an oval for crown tip. Instead, sew 
strips across the crown tip, letting the strips run 
down just far enough so the unfinished ends may 
be covered by attaching the side-crown strips, 
which can be easily sewed around. 

164 



Horsehair Straw 

We have left just one other problem in sewing 
the type of straw that comes by the yard. This 
is the horsehair straw, which is a woven straw 
and includes all the lace straws made of horsehair. 
For these straws it is necessary to use a skeleton 
frame in wire (see lesson on skeleton frame in 
chapter on copying French hats). After making 
a wire frame in the shape desired, the facing of 
the frame should be covered with two thicknesses 
of Malines. The Malines should come over the 
edge-wire onto the top. The frame is now ready 
for sewing the horsehair braid. Sew the first row 
of braid to the Malines that has been brought up 
on the top for this purpose. Extend the horsehair 
straw as far bej^ond the edge as required by the 
effect desired. Sometimes a soft edge of Malines 
is used beyond the edge of the frame to soften the 
edge, before sewing the first row of horsehair on 
the frame. Cut off each row of horsehair braid 
when sewing the brim and join by slip-stitching 
each row in the back. In making the crown, start 
at the crown-tip to sew; fold the straw together, 
as in the other woven straws; make a small oval 
centre the line of crown desired and sew row on 
row, without cutting the horsehair, until the base 
of the crown is reached. This crown should be 
shaped over a wire crown, as all others have been. 

165 



Modern Millinery 






A Type of St raze Plaque 

A peaiilf sfri'ic phujuc, just as if came frow the manufac- 
turer. The white hasting shown near the center indicates where 
the headsize is to be cut, and the basting near the outer edge 
shows where the edge of the plaque should be cut away, leaving 
the plaque the right size for the top brim covering. These lines 
are determined by placing the under-brim on the plaque and 
tracing around the headsize and edrfezcire. The material cut 
out is not wasted. The oral piece cut from flic headsize is used 
for the crown tip. The surplus left from the edge is used as a 
side crown to pnish the oval tip cut from the center. 



166 



Straw Plaques 

Straw plaques, which come in Tagal, peanit, 
horsehair, Leghorn, etc., are valuable when one 
desires to make a hat partially of straw, combined 
with satin, taffeta, duvetyn or organdie and does 
not wish the effect of row after row of sewed 
straw. These plaques or flats of straw may be 
fitted on either the top brim or facing of a large 
sailor or mushroom frame. They are cut out in 
the headsize, as is done with material coming by 
the yard. They are then slashed and sewed to 
the headsize. The outer edge of the placque may 
be turned in and slip-stitched or finished by in- 
serting an unfinished cord. Sometimes a portion 




A plaque after the surjjlus has been cut from the edge and 
the crown tip cut from the center. The plaque is fitted to the 
top-brim and sewed with long-and-short stitch in the headsize. 
The headsize is slashed only for irregular shapes, not for a 
sailor. The plaque is cross-stitched over brim edge, the same 
as velvet, satin or tafeta. This illusiration shows the back of 
the hat, with both edges of the plaque turned under and slip- 
stitched, as fabric hats are joined. 



\67 



Modern Millinery 




The crozcu completed (in(f luouiited to the top brim, 'ihe croxcn 
h made of the .s-urplus materia] cut from the plateau, as de- 
scribed in the fraf illustration in this chapter. The side crown 
is over-handed on the wrong side to the tip. The joining at the 
back of the side-cromn is wade bif slip-stitchinf/, the same as 
the back brim is slip-stifched together. The completed crown 
is finished at the headsi^e bt/ turning in and slipstitching to the 
brim. The entire top of the hat is nozc completed. The facing 
mag be made of ang fabric ntaterial desired, the edge of the 
facing being pnished on a wire. Three different kinds of pla- 
teaus have been used in these illustrations, to show a variety 

of textures. 



of the top or brim facing is made of the placque 
and the remainder is finished with satin or taffeta. 
The process of handling straw placques is ade- 
quately covered by the illustrations and descrip- 
tions herewith. 

Advantages of the Methods Described 

The two great advantages in sewing straw by 
the method shown are these: First, hand-made 
straw hats are no longer the clumsy things they 
used to be when the straw was sewed securelv row 



168 



Advantages of the Methods Described 

on row to a thick frame, making an ugly, heavy 
hat. Second, the training in line that comes to 
a maker of hats, who learns to visualize the shape 
of crowns and brims perfectly enough to make 
the shape in the hand, using the frame only as a 
pattern, is invaluable. It is but a step for them 
to develop into trimmers and designers, after this 
training. 

Millinery in its highest sense always was and 
always will be a combination of beautiful lines and 
colors. Each year experienced workers try to ex- 
press more skillfully their concept of line. In the 
past most of the real style was left to the trimmer, 
to add the dash of line in the trimming; but to 
make a hat successfully today, either of straw or 
velvet, a worker must make the line stitch by 
stitch, shaping and moulding as she goes. This 
is the chief part technique plays in the millinery 
field today. 



169 




A typical example of finished transparent hat. 



CHAPTER XXIV. 

TRANSPARENT HATS 

IN the previous chapters we have been studying 
two types of hats, i. e., those made of fabric 
materials such as velvets, velours, satins, taffetas, 
faille silk, etc., and those made by sewing the three 
types of straw. You will remember that the wire 
frames used for all these hats have served one 
of two purposes — either as a block to stretch wil- 
low, cape or rice net over, or as a block to shape 



170 



Transparent Hats 




A typical example of a frame suitable for a transparent hat. 
This frame has been prepared by minding all the wires with 
Malines. A covering of two thicknesses of Malines has then 
been placed on the top brim, and another similar covering on 
the underfacing. These coverings merely act as a background 
or lining for the transparent plaque which is to cover the 
finished brim. The soft Malines edge has also been attached. 



hand-sewed straw on. In neither of these cases 
is the wire frame used as a permanent foundation 
for the finished hat. 

A Third Type of Hat 

In a previous chapter on Copying French Hats, 
a transparent hat is shown. Underneath the hat 
a wire frame is pictured which is used as a skele- 
ton frame to be covered with Malines and lace. 
This represents a separate type of hat known in 
the trade as transparent hats. 

All the hats we have considered in previous 
lessons are what might be termed bread and butter 
hats or practical smart hats — the question as to 

171 



Modern Millinery 




Jboi-e, fop viexv of the frame before behuf covered xcith the 
plaque. The circular wire in the center is necessary as a brace 
and its position is decided partit/ by the need for extra strencfth 
and partly bif the design on the plaque ichich is to cover it and 
which conceals the brace wire as much as possible . The lower 
half illustrates the brim covered zcitli the Malines and horsehair 
plaque, litis has l>een slashed and pnished at the headsize, as 
is done with any tiiaterial and the outer edge turned in and slip- 
stitched to the edge wire. 

these hats being dressy or not depending on the 
choice of material and trimmings used to carry 
out the design. But the transparent hats serve 
but one purpose — that of a dress hat. There is 
no such thing known as a tailored transparent 



172 



A Third Type of Hat 

hat, and therefore the transparent hat does not 
receive as much attention in a school where milli- 
nery is taught as the other more practical hats, 
made of durable materials. 

The Question of Materials 

The fabric materials used for making trans- 
parent hats are Malines, tulle, net, laces, organ- 
dies and Georgette crepe. Horse-hair by the yard 
is also used, both plain and fancy. Fancy plaques 
or plateaux made of a combination of lace, 
Malines and horse-hair, or plain horse-hair, straw 
plaques or plateaux, are also frequently used. 

Covering the Wires 

The first illustration shows a large mushroom 
shape. The wire frame has first been wound 
with Malines so the wires are covered as well 
as the entire frame. For winding wires fold 
narrow strips of Malines into four thicknesses, 
and sew the end of one folded strip fast to back of 
the headsize wire. Start to wind round and round, 
working whichever direction seems easier, until 
the entire strip has been wound. To fasten the 
end bind it securely around the wire. Start at 
this point to fasten and wind again, until every 
wire used in the entire frame is covered with 
Malines. Be sure there are no ragged unfinished 
edges left. 

173 



Modern Millinery 

Next start to place your Malines for covering 
top brim. Fold Malines double, pin the double 
thickness to the front, back and sides of the top 
brim. Cut and slash the headsize and pin the 
Malines in the headsize and on the edge. 

At this point hold the wire frame with Ma- 
lines partially fitted, over a steam-kettle. Work 
out the fullness as you steam, by removing the 
pins and replacing them as required. When this 
is completed sew with long-and-short stitch close 
to the wire, binding the Malines over the edge. 

Now cover the underbrim. Fit two thicknesses 
on underbrim, slash, steam and pin as before, and 
bind under-facing up over the edge-wire. Sew 
with long-and-short stitch close to the wire. 

Making the Soft Edge 

The frame is now properly interlined and ready 
for the Malines edge which is to extend beyond 
the edge of the fitted brim to add softness. For 
making the soft edge cut two thicknesses of Ma- 
lines, twice the width of finished soft edge, run 
a basting thread of contrasting color through the 
centre of the double Malines strip, and fold on 
the line of basting. After folding together, 
stretch carefully in the hand, baste the inside or 
unfinished edge of shaped fold on the outer edge 
of top brim, arranging and pinning the soft edge 
as seems most becoming. It can be turned down, 

174 



Making the Soft Edge 




Making the Malines crown which is later to be remoiied from 
the block and used as an interlining for the horsehair or lace 
crown. This is made of six thicknesses of Malines, pinned on 
the patent porous cable wire block on which it can be steamed 
and blocked, the steam filtering through without coming in 
actual contact with the material. The Malines is pinned, 
steamed and stretched until all fulness is worked out. 

as the illustration shows, or extend out straight 
from the brim. Sew with long-and-short stitch, 
close to the outer edge-wire of the frame. 

Joining Malines 
Leave joining until the last thing. To join Ma- 
lines do not stitch in a seam as other joins are 
made. Lay open the fold, slipping one end of the 
unfinished fold inside the other, overlapping at 
least 11/2 inches. Then continue to sew along 
the upper edge of the overlapped joining with 
long-and-short stitch the same as is used for 
mounting the entire fold. 

175 



Modern Millinery 

After sewing, trim close to stitches all unfin- 
ished edges left from sewing. 

Fitting With Fancy Plaque 

The second illustration shows one-half of the 
brim finished with a fancy plateau or plaque 
made of Malines and horse-hair straw sewed in 
fancy design. This plaque was bought complete 
just as shown here, with the exception that it has 
been cut and slashed in the headsize. After 
slashing the headsize, it is pinned and fitted the 
same as the interlining of Malines. You will note 
that the edge of the plaque is finished with a row 
of straw. This edge is slip-stitched to the edge 
of the frame, catching the stitch into the wound 
Malines edge. 

Some Points on Frame-Making 

The question as to how many braces or brim 
wires should be used in a wire frame for trans- 
parent hats is governed by the material to be used 
on the outer covering and by the strength needed 
to keep the completed hat in line. 

The frame for any medium-sized transparent 
hat, that is not extreme in line, will keep in shape 
by using four brim-wires, instead of eight as 
shown in the illustration given, which requires 
eight wires because it is a large hat. 

The arrangement of circular braces is deter- 

176 



Some Points on Frame Making 



.>c -^ 





The finished crotcn of Itorsehair braid under which is the 
Malines interlining shoxcn in process of making in a previous 
illustration. The horsehair braid is capped and setvn in the 
same way as described in the chapter on straw braid. It is 
then steamed and blocked as was done with the Malines 

interlining. 

mined by where the braces will show the least, 
using as few as necessary to protect the shape of 
the brim. In using a fancy plaque as shown in 
the illustration, note how the circular brace is 
placed to strengthen the brim and also that the 
design on the plaque hides the brace in finished 
ho.t. The two rules given for braces apply to all 
transparent hats, i. e., place first for strength and 
second where best hidden by the material. 

177 



Modern Millinery 
Other Methods of Preparing the Frame 

The preparation of frames for all transparent 
hats is the same with the exception of those made 
of organdie and Georgette crepe. For organdie 
and Georgette the wire frame is often made of 
colored wire to match the outer material, and is 
not wound. If the wire is wound, of course the 
material of the finished hat is used for winding. 

The question as to how many thicknesses of 
Malines should be used on the brim either as an 
interlining for horse-hair plaques, laces, etc., is 
governed by the effect desired. Some customers 
look better with a thicker brim-covering than 
others. When the brim of transparent hats is 
made of Georgette crepe or organdie, one thick- 
ness of material is sufficient as the beauty of these 
hats is in their delicacy. 

Covering With Horse-hair 

When using horse-hair by the yard for covering 
brim, sew first row to the frame, as the French 
way of straw sewing is described, under chapter 
on straw-sewing. 

Some Fancy Brim-Finishes 

A variety of finishes may be used on the edge 
of the brim. If a soft Malines or horse-hair edge 
is not desired the edge may be bound either with 
ribbon, or a narrow binding of satin or taffeta. 
Organdie and Georgette may be bound with the 

178 



Some Fancy Brim Finishes 

same material or a fancy edge used as described 
for the Malines edge. Any transparent hat may 
be finished on the edge with a narrow ostrich 
band or an edge of foliage or flowers. The fancy 
feather or flower edge finishes are sewed securely 
around the edge of the brim, usually as a finish 
for the unfinished edge left from sewing material 
by the yard. The question as to preparing and 
covering the brim has been gone into sufficiently 
to cover all types of transparent brims. 

Steaming and Shaping the Crown 

Let us see (in the third illustration) how crown 
foundations are steamed and shaped of Malines, 
Georgette crepe or organdie. Transparent crowns 
are interlined the same as the frames for brims 
are prepared or interlined for outer covering. The 
third illustration shows six thicknesses of Malines 
stretched, steamed and pinned over the wire crown 
block. These crown blocks come in all the shapes 
modish crowns require. For a Malines crown, 
as the illustration shows, pin six or more thick- 
nesses of Malines together. Pin the Malines front, 
back and sides, stretching it securely over the 
block. Hold over steam, letting the steam filter 
through from the underside. Continue to steam, 
stretch and pin until practically all the fullness 
is worked out. Then remove the Malines from 
the block and use it for interlining the horse-hair 
or lace crown. 

The fourth illustration shows the Malines in- 



179 



Modern Millinery 

terlining a shaped horse-hair crown. The horse- 
hair is shaped, capped and steamed over the same 
block as the interlining of Malines, For sewing 
and capping horse-hair the same method is used 
as shown in the chapter on straw-sewing. This 
horse-hair crown is of course used with a trans- 
parent brim covered with horse-hair. It may be 
noted by the way that the shaped horse-hair crown 
is one of the hardest to make. 

The Finished Hat 

The fifth illustration shows a finished trans- 
parent hat covered with lace. The brim and 
crown are prepared as just described. The lace 
makes the transparent edge in this design and 
lace is draped soft over the steamed Malines 
crown. 

Ribbon is used as trimming to finish around the 
crown. Simple tied bows with long ends are tied 
at both sides. 

Georgette crepe and organdie crowns are 
steamed and shaped over these same crown blocks. 
Two thicknesses of Georgette crepe are used over 
the crown-block, one thickness of organdie for 
organdie crowns. The outer material may be 
draped or made in a soft Tarn for either Georgette 
or organdie hats. Flowers are usually used 
around the crown of organdie hats, or bows made 
of the organdie may be tied around the crown as 
is done with the ribbon shown finishing the trans- 
parent hat made of lace. 

180 



CHAPTER XXV. 

SUMMARY OF MILLINERY MATERIALS 
I_MILLINERY WIRES 

FOR occasional reference while working in the 
various stages of hat-making it may be help- 
ful to have a list of the principal wires for hat 
construction, and their uses. Hence this chapter. 

Cable Wire 

1. Cable Wire — (a) The most common use to- 
day of cable wire is as a substitute for cable cord, 
when making a finished cord. For example, on a 
horsehair hat where wiring is necessary on either 
the under-facing or top brim, a cable wire cov- 
ered with velvet, satin, taffeta, Georgette crepe, 
etc., as described under ''Finished Cords," will not 
only serve as decoration in giving a touch of 
color to the brim, but will also brace or support 
the brim. 

(b) Cable wire is sometimes used in place of 
frame-wire for wired finishes on facings, flanges, 
sectional facings, bindings, etc. Cable wire is 
chosen in these cases because it has a much heavier 
covering than frame wire and gives the effect of 
a cord set in. 



181 



Modern Millinery 
Satin Edge Wire 

2. Satin Edge Wire — is used in the same way 
as cable wire. These two wires are so near alike 
in appearance, in some workrooms the same name 
applies to both. The difference is in the weight of 
covering used by the manufacturer in the wire, 
the Satin Edge Wire has less covering, thus mak- 
ing a finer cord or finish than the cable wire. 

Heavy Brace Wire 

3. Heavy Brace Wire (a) is the heaviest frame- 
wire known, and is used in wire-frame making 
where a very secure block is desired for stretch- 
ing heavy willow, (b) Heavy brace wire is also 
used for wiring the edges of willow or cape-net 
frames where a stiff, strong wiring is needed. In 
fact it is used at any time during the making of 
a hat where any part of the hat needs a firm, se- 
cure wiring. 

French Frame Wire 

4. French Frame Wire is a lighter-weight 
frame-wire than the wire just mentioned and is 
used when lighter wiring is sufficient to hold the 
hat in line. French frame wire is always pre- 
ferable to heavy frame wire in wiring edges of 
facings, flanges, etc., because it makes a softer 
and more graceful creation. 

182 



French Frame Wire 




7. 



8. 



^^KVHftl WP IPBft 




9. ' 



Millinery wires described in this chapter. 

Lace Wire 

5. Lace Wire (a) is used for wiring lace, where 
the lace is used as a bow or a standing effect is 
desired, (b) Lace wire may be used in wiring 
the edge of a willow or cape-net frame where a 
softer edge is desired than frame wire will give. 



183 



Modern Millinery 
Bob Wire 

6. Boh Wire is a light-weight lace wire and is 
used in very soft laces and Malines where the 
heavier lace wire would spoil the effect by mak- 
ing too stiff a line. 

Iron Wire 

7. Iron Wire {with clamp for joining) — (a) 
Iron wire is the only uncovered wire used in milli- 
nery. It is the stiffest wire made and is often 
used in place of heavy brace-wire when a very 
secure wiring is needed. For example, iron wire 
might be used as the edge-wire on a wire frame 
when the frame is to be used as a block for stretch- 
ing heavy willow. 

(b) In making soft and transparent edges for 
tulle, Malines, Georgette crepe and organdie, iron 
wire plays a useful part. In these cases the cir- 
cular iron wire is joined with a clamp. (The 
clamp is slipped on one end of the wire and pressed 
hard on that end Avith nippers. The other end of 
the iron wire is then slipped on the other end of 
the clamp and pressed hard with nippers, thus 
joining wire in a ring.) Over this very secure 
circular wire, material may be stretched and 
steamed until a great deal of fullness is steamed 
out of the material. After leaving material pinned 
until dry, remove from the iron wire. The mate- 
rial will be very circular and follow the exact line 
of the iron-circumference wire. 



184 



Tie Wire 

8. Tie Wire (a) is mainly used for tying frame 
wire when making wire frames, (b) It is some- 
times used in wiring the edge of petals for hand- 
made flowers. 

Ribbon Wire 

9. Ribbon Wire comes in different widths, for 
different uses, (a) The sample shown is the me- 
dium width. This width may be used for bracing 
soft cape-net brims. A brace of the ribbon wire 
is securely sewed to the front, back and sides of 
a very soft frame, thus bracing or securing the 
frame without getting it out of line as the heavier 
frame wires would be apt to do. (b) All different 
widths in ribbon wires are used in wiring ribbon 
for bows, the width differing for the different 
width of ribbons. 

The nine wires discribed above play a great 
part in millinery as each one, when rightly chosen, 
protects some line or effect made either in block- 
ing, making or trimming a hat. 



185 



CHAPTER XXVI. 

SUMMARY OF MILLINERY MATERIALS 
2_BL0CKING MATERIALS 

IT is as essential to choose the right material for 
blocking a frame as it is the material with 
which the hat is to be made and trimmed. 

/ have intentionally left out buckram as a block- 
ing material. I realize that buckram is still used 
in some of the millinery schools, but during all 
my trade experience I never saw one inch of buck- 
ram used in any form. It is a material long ago 
outgrown in the trade because modern millinery 
deals with soft frames. Even when a secure frame 
is used it never should be made as stiff as buckram 
is bound to make it. Buckram is to millinery 
what tight-fitting crinoline linings used to be to 
dressmaking, a thing unheard of today. It is 
high time that buckram should be thrown out of 
all millinery classes. If a school cannot afford 
willow or cape-net for blocking it would be far 
better not to teach blocking frames at all, as in 
handling the buckram frame it teaches everything 
just the contrary to the uses of the trade. More 
criticism comes to the trade schools from this 
source than any other. 

186 



Blocking Materials 




1.— Willows— Heavy, Me- 
dium AND Light Weight 

(a) Heavy Willow is used 
for blocking over a wire 
frame when a stiff tailored 
effect is desired. 

(b) Medium Willow is 
used for blocking medium 
sized hats where a softer 
effect is desired than that 
given by using heavy wil- 
low. (Note—let it be clear- 
ly understood that heavy 
willow is not always used 
for large hats and medium 
willow for medium or small 
hats. The choice is entire- 
ly governed by the effect 
desired. If a large hat is 
to be floppy, then medium 
willow is used; if a small 
or medium hat is to be 
stiffer than medium willow 
will make it, then use 
heavy willow for the small 
hat.) On general principles 
heavy and medium willow 
are used for velvet, duve- 
tyn and the heavy fabric 
materials, thus making the 
hand-blocked willow frame 

187 



Modern Millinery 



o 



most popular in the fall 
and winter season. 

(c) Light Weight Willow 
or Undressed Willow. The 
general use of undressed wil- 
low is for collapsible hats, the 
frames of which are often cut 
from patterns. Fur hats are 
often made on soft or un- 
dressed willow frames as this 
frame makes a lighter hat 
than when medium willow is 
used. 

Cape or Rice Net 



Cape or Rice Net is used 
for blocking in the spring and 
summer season. Where a hat 
is to be covered plain with 
satin, taffeta, or any other 
firm fabric material, two 
thicknesses of cape or rice net 
is used over the wire block, to make a frame se- 
cure enough to fit over. When cape or rice net 
is used as a foundation for soft straws or light- 
weight material such as Georgette crepe or or- 
gandie, one thickness of net is used, instead of 
the two which are used over the wire frame. The 
choice between one or two thicknesses of cape or 
rice net when used for blocking is entirely gov- 
erned bv the effect desired and the durability of 




188 



Cape or Rice Net 

the hat. While I have divided the blocking mate- 
rials into the two millinery seasons, placing wil- 
lows in the fall and winter and the cape or rice 
nets in the spring and summer, in some cases 
medium willow is used in the spring and cape or 
rice net in the fall. Again it is a question of 
effect. 

Frame Coverings Used As Interlinings 

The interlining on a frame serves two purposes, 
(a) First, to cover imperfections in the frame or 
to make a perfect surface over which to fit outer 
coverings, (b) To emphasize the texture of the 
outer covering, or change either its texture or 
coloring. I will illustrate by describing the uses 
of materials mentioned below. 

Light- Weight Flannel 

1. Light- Weight Flannel may be used in cover- 
ing a rough, poorly-made frame to make a perfect 
surface on which to fit outer material, or it may 
be used on a very smooth frame to give a softer 
effect to the finished hat. For example, where 
material is to be quilted, as in some sport hats, 
flannel is a most effective interlining. 

Tarlatan and Mull 

2 & 3. Tarlatan and Mull are used for inter- 
lining materials where the texture of the willow 

189 



Modern Millinery 

or cape-net frame would show through the outer 
covering. In this case the interlining is not used 
to make a perfect surface to fit over or to empha- 
size the texture of outer material. It serves mere- 
ly as a lining to thin satin or taffeta. 

Crinoline 

4. Crinoline, (a) The general use of Crinoline 
is to bind the edges of frames where the wired 
edge would wear through the outer material, (b) 
Crinoline is sometimes used for making soft 
crowns when the crown is cut from a pattern. 

Cotton Crepe 

5. Cotton Crepe is used for an interlining under 
Georgette crepe. This is one of the most strik- 
ing examples of an interlining material used to 
emphasize the texture of the outer covering. Any 
of these interlinings, where used under very thin 
materials, may be used in a different color to make 
a changeable effect in color on the finished hat. 

Satin may be used as an interlining for thin 
Georgette crepe, the finished effect being like 
suede. 



190 



CHAPTER XXVII. 



STITCHES USED IN MILLINERY 

ALL through these lessons we have learned 
through the text and illustrations new 
stitches, unknown to us before studying millinery. 
We have used them in their practical application 
which is the only helpful way to learn anything. 
Nevertheless, a summarized review of these 
stitches may be helpful at this point. In the illus- 
trations shown, the dotted lines merely indicate 
the course of the thread where it is concealed 
under the material. 




The first stitch we used in 
making a hat was the But- 
ton-hole Stitch. This stitch 
was used in wiring the head- 
size and edgewire of the first 
willow frame we wired after 
removing from the wire 
block. Each time we have 
wired a frame this stitch has 
been used. Let us see what 
the 'perfect stitch form of a 
button-hole stitch is. 




The second stitch we used 
was the Long and Short 
Stitch. This stitch is illus- 
trated in the chapter on 
principles and methods of 
covering frames. The stitch 
is used there to fasten head- 
size m,aterial. The first use 
we made of this stitch was 
to bind the crinoline on the 
edge of the willow frame 



191 



Modern Millinery 




Till' third stitch. Cross 
Stitchiiuf teas used in fasten- 
inff the top brim coveriiui 
flat, readtj for the facing. 
This stitch is used wherever 
such an effect may be de- 
sired, as in sewing material 
over base of crown or over 
brim-edge. 




The Tie Tack was the fourth 
stitch we learned. It was 
used at that time for holding 
the crown in place until the 
permanent sewing was com- 
pleted. 




Fifth, the Slip-Stitch was 
used to fasten crown on brim 
Sixth, the Slip Stitch was 
used again in finishing the 
edge of the facing in a plain 
velvet hat. This time the 
slip stitch was used to hold 
the wire in place — a long 



stitch on the side where the 
xvire was pinned and the 
short slip-stitch in the hat. 
This stitch is in realitg a 
slift-stitch but is sometimes 
(■(filed a Wire Stitch because 
if is altcai/s used to fasten 
wires in material where xoires 
are used to finish the edges 
of facings, top brims, crowns, 
flanges, bindings, etc. 

Seventh, we used the slip- 
stitch, varying the length of 
the stitches again to close 
the joining where velvet was 
fitted on an irregular shape. 
A very short slip-stitch is 
used for this joining stitch. 




Eighth, Back Stitching, is 
another useful stitch. This 
stitch may be used xvhenever 
a secure sewing is desired 
that can be done on the 
wronff side. 




Xinth, Ball Stitching, is best 
seen holding unfinished edges 
together in p/«m and milli- 
ner's folds. 



192 



Stitches Used in Millinery 




Tenth, Hidden Stitch. This 
slant stitch is used when one 
must stitch through a pressed 
straw hat or any other sur- 



face where it is necessary to 
stitch the right side of a 
finished, hat and an invisible 
stitch must be made. The 
illus t ra t io n r e )) regents a 
cross-section of a piece of 
material through which the 
needle is being worked. 



One might go on indefinitely describing varia- 
tions of these stitches mentioned, but these com- 
prise the forms of the important stitches used in 
making all parts of hats. 



\96 



CHAPTER XXVIII. 

CO-OPERATIVE WORK BETWEEN 

WORKROOMS AND TRADE 

SCHOOLS 

LAST summer while on my vacation I was askec 
J by one of the well-known millinery men of 
New York City if, after my extensive trade and 
teaching experience in the millinery line, I could 
offer any remedy for the shortage of skilled help 
that is so hampering the millinery workrooms of 
today. I hope that this book will play a part in 
solving the problem. 

I had been trying, previous to this inquiry, to 
see that all students coming to me with serious in- 
tentions should spend part of the time during their 
course gaining practical experience in the Fifth 
Avenue shops. 

The first question that naturally arises from the 
trade in this matter is — 

"What is the advantage of tivo or three days in 
classroom and the remainder of the iveek in the 
workrooms. Why not enter the ivorkroom and 
learn the work from an ap'pr entice up?" 

I feel competent to answer that question from 

194 



Co-operative Work Between Workrooms and 
Trade Schools 

my own personal experience. My first millinery 
experience was a course in a millinery classroom. 
Having completed the course I entered the trade 
as a worker in one of the Fifth Avenue shops. 
The first thing I was asked to do was to line a hat, 
which I did satisfactorily without any assistance. 
Second, a wire frame was given me to make ; then 
I was given work requiring the blocking of the 
willow frame, and the wiring and covering of the 
frame with the velvet. After doing many frames 
and hats I was finally given a hat to copy. Copying 
was the most advanced work I was allowed to do 
during my first year's trade experience without 
any assistance from other members of the work- 
room. 

Right here I should like to ask the trade a ques- 
tion in return for theirs : 

''Does the average apprentice do as useful work 
in the first year as I was able to do because a com- 
petent person had been paid to teach and help me 
do the things I was asked to do in the shop?" 

Workroom Instruction Haphazard 

Who is there in the workrooms to help the ap- 
prentice quickly to become really useful, not only 
for her own sake but for the sake of the house 
where she is employed? We, who have worked in 
workroortis, knoiv that apprentices snatch a little 
help here and a little there from some one who is 
kind enough to give them a helping hand. Other- 
wise, unless they are exceptionally brilliant, they 
go through the first year lining and wiring and 

195 



Modern Millinery 

ripping a great deal, but not even approaching 
creative or constructive ivork. 

There is really no one present in the average 
workroom whose special business it is to take the 
interest and time that are necessary to develop 
this apprentice into a competent maker. Every- 
one is busy and hard-pressed by the immediate 
need of turning out orders. With the best 
of intentions they cannot spend time on instruc- 
tion, neither can they spare the material needed 
for orders or stock hats, some of which the begin- 
ner would be bound to spoil. Therefore the 
process of advancement must be slow, with the 
shop in the meantime badly needing advanced 
and proficient workers. In fact, the worker, pass- 
ing through this discouraging early experience, 
is likely to give up altogether and thus a recruit 
is lost for the industry. 

A 50-50 Teaching Plan 

Thus far, my remarks have been seemingly in 
favor of teaching millinery apart from the work- 
rooms. Quite to the contrary, my experience has 
proven that two or three days a week in the class 
room, and the remainder of the iveek in the shop, 
brings better results than completing the course 
first and then entering the shop. 

The chief advantage is the quick application to 
actual practice of what has been recently taught. 
The work gains by the lively, inquiring interest of 
the pupil and the tuition gains by having its les- 

196 



A 50-50 Teaching Plan 

sons fixed by experience. Then millinery is such 
seasonable work that at least two seasons would 
have to be completed before one could work effi- 
ciently in the trade unless the plan mentioned, 
of studying and working the same week, were 
followed. 

How THE Garment Trade Does It 

I should like to tell of a teaching plan that is 
going on in some of the garment-making estab- 
lishments of this country. Last year several of 
the graduates of the Household Arts Department 
of Pratt Institute were asked to take positions 
in the garment-making establishments as instruc- 
tors and teachers of the working force. The grad- 
uate was first very carefully coached by one of 
the most capable workers in the exact methods 
used in that shop. The duty of the graduate from 
then on was to instruct new members of the fac- 
tory and with the theoretical grasp acquired in 
the school, to try to advance the older help to 
more efficient work. 

In the foregoing chapters I have attempted to 
outline a course and give it a detailed presentation 
that I am sure may be used successfully in any 
Fifth Avenue workroom, taught either by one of 
the more advanced workers or by an instructor 
from the outside who has had suitable training. 

Great care should be exercised in choosing the 
right person from the workroom, to insure her 
ability to impart knowledge to others. When 

197 



Modern Millinery 

instructors are brought from schools they must 
first have extensive trade experience, and sec- 
ond, should first spend some time in the work- 
room where they expect to instruct, until familiar 
with the methods used there. 

Here is a plan I have worked out myself. Stu- 
dents come to me and say, '*I want to follow milli- 
nery as a profession. When I finish this course 
will I be able to take a position?" I reply, **If 
you are willing to come here two days a week 
and work hard, starting actually to do repeated 
numbers of each detail in millinery from the 
foundation up, and spend the other three days 
in some Fifth Avenue shop, carrying out what 
you have thus far learned, I can promise you that 
after doing this co-operative work for two milli- 
nery seasons, you will have a permanent position." 

Earning While Learning 

At present I have verj^ successful workers in 
many of the Fifth Avenue shops who are still 
under instruction. The students are well paid 
while doing this co-operative work, earning from 
$10 to $15 for their four days' work. I was able 
to place at good salaries every student who came 
to me with serious intentions last year. One of 
the Fifth Avenue shops thought favorably enough 
of the work we w^ere doing to send one of its 
employes to two-day classes without loss of salary, 
that she might learn some special points about 
copying and trimming. Another student I have 
in mind without any trade experience except the 

198 



Earning While Learning 

co-operative work covering two seasons, at the 
end of the time was able to trim and design, and 
is at the present time doing very successful work 
for one of the largest and best manufacturers. 

In following this plan the study days are usually 
Tuesday and Friday, while Monday, Wednesday, 
Thursday and Saturday are devoted to actual 
practice in the shop. 

Perhaps I have still not answered the question 
as to where the applicants interested in following 
millinery work may come from. This is impor- 
tant, as competent help is the question for solu- 
tion. For one thing, if manufacturers encouraged 
this co-operation, the schools could produce many 
more workers than they do. Aside from the stu- 
dents making personal application for millinery 
work to us, we often have within our ranks girls 
who have not been successful in other studies — 
chemistry, household science, etc. — girls better 
suited to an artistic career, whom we might in- 
terest in this line if they felt through this experi- 
ence they would be able to secure good positions 
in the Fifth Avenue shops. 

Then the shops themselves have in their own 
organizations much unrecognized material. It 
seems evident to me that if instructive work were 
given in the shops, girls who will not of them- 
selves take the initiative might be helped on to 
do more efficient work. In the rush they are 
fearful to advance and carry out ideas they may 
have in trimming, though they may really have 
the will and the ability to develop. Then there 

199 



Modern Millinery 

is the possibility of attracting workers by mak- 
ing the shops attractive. If this helpful and en- 
thusiastic attitude could be brought into the work- 
room by a regular system of instruction, is it not 
logical that the girls already there would bring 
others? 



200 



I 



